The magazine May 2016

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may 2016

PHILLIP VIGIL NEW WORKS

53 Old Santa Fe Trail | Upstairs on the Plaza | Santa Fe, NM | 505.982.8478 | shiprocksantafe.com

CONTENTS FEATURES 14

37

42

14

stu d i o v i s i t Bunny Tobias i nterv ie w David Scheinbaum & Janet Russek e va h esse : m ater i a l g i r l

by Diane Armitage

A RT S 30

art openings Art openings, exhibitions, events, performances, calls for artists

32

pre v i e w s Made in the Desert, form & concept Mabel Dodge Luhan & Company, Harwood Museum of Art, Taos

33

45

45

national spotlight Ordinary Pictures, Walker Art Center, Minneapolis c r i t i c a l ref l e c t i o n s Bonjour, lĂ , Bonjour, Adobe Rose Theatre Origination Point: Agnes Chavez with Marcel Schwittlick and Robert Schirmer, Harwood Museum of Art, Taos Kevin Bubriski: Look into my Eyes: Nuevomexicanos, Verve Gallery of Photography Seven: A Survey of Paintings by Matt Magee, Richard Levy Gallery, Albuquerque Tom Miller: Set to Topple and Equivalent Architecture, James Kelly Contemporary Undersee: Subliminal & Sublime, City of Mud

21

D EPART M ENT S 05

letter from the editor

34

the survey

13

the library

51

i l lustrati o n

19

one bottle

45

photography

21

Nari Ward: Sun Splashed

by Joshua Baer dining guide

Appalachian basketmaker Mary Helton’s back porch, southwest Virginia

by Robert Alexander

54

wr it i n gs

Indulge Cafe

Shake Foundation

25

flashback

28

out

&

1996

about

Headache

by Luke Dorman

Black Rubber Snake

by Edie Tsong

READINGS & CONVERSATIONS

brings to Santa Fe a wide range of writers from the literary world of fiction, nonfiction and poetry to read from and discuss their work.

LOUISE GLÜCK with

Peter Streckfus

WEDNESDAY 11 MAY AT 7PM LENSIC PERFORMING ARTS CENTER Louise Glück, a former Poet Laureate of the United States, is the author of over a dozen books of poetry including Faithful and Virtuous Night (winner of the National Book Award for Poetry) and her recent anthology, Poems: 1962-2012. Pulitzer Prize winner Robert Hass has called her “one of the purest and most accomplished lyric poets now writing.”

Glück taught at Williams College for 20 years and is currently Rosenkranz Writer-In-Residence at Yale University. She is a member of the American Academy of Arts and Letters, and in 1999 was elected a Chancellor of the Academy of American Poets. Her numerous books of poetry include A Village Life (2009), The Seven Ages (2001), and The Wild Iris (1992), for which she received the Pulitzer Prize. Louise Glück says of writing, “[It] is not decanting of personality. The truth, on the page, need not have been lived. It is, instead, all that can be envisioned.”

TICKETS ON SALE NOW

ticketssantafe.org or call 505.988.1234 $6 general/$3 students/seniors with ID Video and audio recordings of Lannan events are available at:

www.lannan.org

CONTRIBUTORS

maga zine VOLUME X XIV NUMBER IX WINNER 1994 Best Consumer Tabloid SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005 and 2006 Top-5 Best Consumer Tabloids

P ublisher | E ditor L auren Tresp A rt D irector C hris M yers A ssociate E ditor | C reative Factotum C l ay ton Porter C opy E ditor Tim S cott P roofreader K enji B arrett P hotogr aphers A udrey D erell , C l ay ton Porter

D iane A rmitage Diane Armitage has a BFA and an MFA in Art Studio from the University of New Mexico. She is an artist working in digital video; a freelance writer and editor for art publications; and an adjunct lecturer in Art History and Film Studies at the Santa Fe Community College where she established the Art History program in 1999. She has also taught for the University of New Mexico and the Santa Fe University of Art and Design. Her work in digital video was included in a traveling exhibition—Water, Water Everywhere—that began in 2012 and will conclude in 2017. waterwatereverywhere-artshow.com

E die T song Edie Tsong is an artist and writer. Her projects in text, radical bookmaking, and performance explore identity and intimacy—how do we connect both literally and metaphorically? She is currently working on a series of ballpoint portraits called Lineage as well as other projects.

Tsong lives and works in Santa Fe. edietsong.com

Webmeister J ason R odriguez C ontributors D iane A rmitage , J oshua B aer , J on C arver , J ordan E ddy, M arina L a Palma , I ris M c L ister , J onah Winn -L enetsk y P ublishers E meriti G uy C ross , J udith C ross C over

Beaumont Newhall (1908-1993), Chase National Bank, New York, 1928, gelatin silver print. Courtesy of Scheinbaum & Russek Ltd, Santa Fe, NM. ©1928, Beaumont Newhall ©2016, the Estate of Beaumont and Nancy Newhall.

See page 37.

Table

of

45

54

19

51

C ontents

Bunny Tobias, Three Tier Pendant, bronze.

Tom Miller, White Wall, 2016, concrete, resin, paint, cinderblock., 36 x 44.5 x 8.5 in.

A dvertising THE maga zine 505-424-7641 L indy M adley 505-577-6310 D istribution J immy M ontoya 505-470-0258 C alendar E ditor

pr @ themagsantafe .com

L etters to the E ditor editor@themagsantafe.com S ubscriptions sales@themagsantafe.com THE magazine is published 10x a year by Tresp Magazine LLC, 320 Aztec St, Santa Fe, NM 87501. Phone number: (505)-424-7641. Email address: editor@themagsantafe. com. Web address: themagazineonline.com. All materials copyright 2016 by THE magazine. All rights reserved by THE magazine. Reproduction of contents is prohibited without written permission from THE magazine. THE magazine is not responsible for the loss of any unsolicited material, liable for any misspellings, incorrect information in its captions, calendar, or other listings. Opinions expressed do not necessarily represent the views or policies of THE magazine, its owners, or any of its employees, members, interns, volunteers, agents, or distribution venues. Bylined articles represent the views of their authors. Letters to the editor are welcome. Letters may be edited for style and libel. All letters are subject to condensation. THE magazine accepts advertisements from advertisers believed to be of good reputation, but cannot guarantee the authenticity of objects and/or services advertised. THE magazine is not responsible for any claims made by its advertisers or for copyright infringement by its advertisers and is not responsible or liable for errors in any advertisement.

M AY

2016

J oshua B aer

L uke D orman

Joshua Baer lives in Santa Fe, New Mexico. He has been writing about wine since 1999. If you have a comment about onebottle.com or a question about wine, you can write to Joshua Baer at jb@onebottle.com.

Luke Dorman is an artist, designer, educator, father, list maker, late night doodler, and potential speed-eating champ of the Southwest. He currently works both as a freelance designer and graphic design instructor at Santa Fe University of Art and Design.

onebottle.com

lukedorman.com

THE magazine | 5

LETTERS

LETTER FROM THE EDITOR When I moved to Santa Fe four years ago, I didn’t yet know anything about this marvelous place. I saw stacks of THE magazine in various places around town, and it was quite obviously the guide to the arts community and became an essential resource for me. By the time I began writing for the magazine a year later, I had learned that the publication is truly a vital asset for northern New Mexico. But it wasn’t until I began working with co-founder Guy Cross late last year that I realized what a talented, intelligent, dedicated team—artists, writers, designers, photographers, editors, distributors, and others—works behind the scenes to get every issue out on the streets. I cannot thank Guy, his wife Judith, and the team they have assembled enough for all of their hard work in establishing the institution of THE (also known by insiders as “the heroic effort”) over the last twenty four years. I am honored and thrilled that they have entrusted it to me as its new publisher, editor-in-chief, and caretaker. There are no words.

But of course, there are words (I am a writer after all). I am excited by the potential that exists to take this already-great publication and make it even better. In its dedication to intelligent and informed arts discourse, THE serves multiple, symbiotic missions: it represents the unique creative culture of Santa Fe to regional, national, and international arts communities, it brings regional and national content and perspectives to the Santa Fe audience, and it fosters creativity at home by reflecting critically on the work that is done here.

The critical reviews are the core of this dialogue, in which artists living and working in diverse locations are given meaningful coverage.

I believe these reviews are central to the magazine’s mission, and this dialogue can be furthered in a number of ways: expanding this critical content beyond Santa Fe to include more creatives throughout northern New Mexico and neighboring communities throughout the Southwest, becoming inclusive of more diverse creative disciplines, and more rigorously approaching art criticism with intelligence, honesty, and integrity.

In addition to these expectations, I also look forward to introducing some incremental changes to the magazine’s structure and content that will encourage greater interactivity and ultimately lead to a publication that is responsive to the evolving issues and interests relevant to its readers. In last month’s issue, the “Photography” page was opened up for readers to submit photographs according to different themes each issue. This issue’s theme was “cats,” and I received many endearing, playful, creative, and funny images! Local photographer Robert Alexander’s photograph can be seen on page 53. (The June theme will be “the decisive moment.”)

In this issue, I am also excited to introduce a new page dedicated to illustration and graphic arts. With an emphasis on local and regional creatives, the magazine will commission graphic designers and illustrators to create three-issue series of full-page original works. The inaugural series will be work by local graphic designer Luke Dorman, whose intricate piece, Headache, invites viewers to get out a pencil and play along (see page 51). I am also pleased to debut a reimagined “Studio Visit” feature. This new format creates space for in-depth interviews and more intimate insights into the stories, experiences, and personalities of artists living and working in the area. For this issue, artist Bunny Tobias, who has called Glorieta Pass home for forty-four years, shares her beautiful bronze jewelry and her history as an artist (see page 14).

In all of these changes and those that are yet to come, my goal is to shine a light on all of the creative forces that make Santa Fe a place worth living in, from major, established institutions to emerging artists working behind the scenes and under the radar.

Lastly, a call to action. This magazine can only be as responsive as you are! Please take the 2016 Reader Survey. Your feedback is critical to helping this publication serve the community. Take the survey online at www.surveymonkey.com/r/themagsfe (see page 34). I look forward to your continued support. Thank you!

Sincerely, Lauren Tresp Letters to the Editor: editor@themagsantafe.com

M AY

2016

THE magazine | 7

Ross Caliendo Tomorrow

Virginie Mossé Time as Desert

Upcoming exhibition :

opening reception on June 23rd special event June 25th

Zoe Crosher

Saturday - Sunday, 2-7 pm and by appointment +1 505 652 7877 — info@mayeurprojects.com 200-202 Plaza Park, Las Vegas, New Mexico 87701 www.mayeurprojects.com

Virginie Mossé, Time as a desert exhibition view

Inaugural exhibitions :

on view until June 11th, 2016

Photo by David Marlow

THE ART OF THE HAT

tm

322 McKenzie Street, Santa Fe, NM 87501 | 505.983.9598 | montecristihats.com

UGLY PIE – Works by Gabriel Abeyta Reception May 14th 6pm – Shows through June 11th 555 TAOS – 1022 Reed St., Taos, NM 555TAOS.com | 505-316-0237

THE LIBRARY

Nari Ward: Sun Splashed Diana Nawi Prestel Publishing

M AY

2016

Born in 1963, Nari Ward is a New York–based artist known for his found object sculptures and assemblage installations. Sun Splashed, a recent exhibition at the Pérez Art Museum Miami (2015-16), was an expansive mid-career survey, featuring the artist’s tactile and visceral work across various media from the 1990s to today.

Ward’s work often references Jamaica, where he was born, and Harlem, where he makes his home in New York, via memory, personal history, and cultural associations, whether real or imagined. In his explorations of these two places, each with far-reaching reputations, his work is rooted in place as a means of discovering individual and cultural identity. Ward’s assemblage sculptures often use objects of great familiarity, and regardless of their state of grace or decrepitude, each has an intimacy much like a child might feel towards a castoff item, reanimated through imagination.

For all of their rawness and hard materials, there is an effortless, tight construction throughout his works. The artist probes the complexities of personhood bound to the specific conditions of history, material, and place, each filtered through the visions of global consumer culture.

The eponymous catalogue for the exhibition includes beautiful installation images of the show and also serves to expand our understanding of Ward’s work through texts contributed

by Naomi Beckwith, Erica Moiah James, Ralph Lemon, and Philippe Vergne.

THE magazine | 13

Bunny Tobias TUCKED INTO THE SANTA FE NATIONAL FOREST, JUST OFF OF Interstate 25, artist Bunny Tobias and her husband, artist Charles Greeley, have made a home, studio, and sometime gallery for the last forty-four years.

Tobias, born and raised in Brooklyn and trained in painting at the School of Visual Arts in New York, has worked across various media, including painting, ceramics, mixed media, and most recently, bronze metal clay.

Visiting her studio and exhibition space, Gallery Zipp—where the couple held shows of local artists’ work for sixteen years—is a special experience.

The gallery is filled with art, but also friends, stories, and memories, intangible yet present throughout the intimate display of eclectic works. As THE sat down with Tobias to talk about her studio practice, she spoke with warmth, passion, and clarity on her dedication to her work, making a home in New Mexico, and what it means to evolve as an artist.

14 | THE magazine

M AY

2016

STUDIO VISIT

all photos: Clayton Porter

THE: Tell us about your studio practice. What is your workday like? BT: Basically, it’s very disciplined. I go to work every day, and eagerly.

We have our morning routines, of course. Charles makes breakfast. If it is a nice morning, we like to go out for a hike with the dog. I like to be in my studio by 9:30 or 10:00, and I work all day. Charles will call and say, “It’s time for lunch!”—he makes lunch, too—because he works next door. And then I go right back to work. Years ago, I used to come back after dinner and work at night, but I’m not able to do that anymore.

I work all day. And I work every day, weekends, too. If I am not in my studio, working for a long period of time, if I get distracted with other things, then I feel . . . nervous. I just don’t feel complete. I feel totally relaxed and who I am when I’m working.

Charles is the same way: we have similar habits, so it works out very well. He’s working in his studio, and I’m working in mine. I’ve always approached it like this: this is my job, this is my profession, and I go to work every day.

Describe your studio; how did this space come to be? I used to have a studio space in the house.

At one time I shared a studio with Charles, which is now his studio. Then my mom came to live with us when she was 80 years old. She had cancer, and we always told her that we would take care of her if she ever needed it. We put up this log cabin for her to come live here. She was a really neat mom; we loved her. We were happy to do this for her, and it was a beautiful experience. But she didn’t last as long as we thought she would, so she was here for two years. After she passed away, I really didn’t know what to do with this space. It’s nice to have

a guest house, but we don’t have guests that often.

So Charles said, “You need a studio!” At first I felt foreign in here. It took me a while to make it my own space. Eventually I did, and then it was this wonderful thing. It was almost like my mom had given me a gift. Now it’s my haven.

How did you end up in New Mexico? Why Glorieta Pass? Charles and I both always had dreams to live in the mountains. We were both born, raised, and educated in New York, yet we both had childhood experiences visiting the mountains in the summers. We were living in San Francisco, so we looked in California, but it was difficult to find something we could afford. Then— and this has happened to us a lot in our lives—fate intervened on our behalf. Charles had a patron that felt that we belonged in New Mexico. He enabled us to take a trip here with friends. When we ended up in Santa Fe, we looked at each other and said, “We’ve come home.” We just knew when we got here. That was in 1970. So we rented a little casita in Santa Fe in 1972, and would go out looking for

our dream property. When we came out to see this property, we knew that was it. We have been here for forty-four years. We have never taken it for granted. It’s always a miracle that we are here, that we find it so beautiful, that we belong in this place. It’s so much a part of nature. For our time, we feel like custodians of this place, and we are very fortunate to have lived and worked here.

What is your history as an artist? How has your practice changed over time? I started out as a painter. That’s what I studied at SVA. When I was in San Francisco, I had a strong desire to get my hands into clay. I didn’t want to go back to school, so I decided to teach myself, which is something that I like to do. I bought a kiln and textbooks; I read a lot, I experimented, and I loved it. When we came to New Mexico, I was very taken by the Zuni fetish pots. When the objects weren’t being used in ceremonies, the vessel was their home. The concept inspired me, so I started making vessels. In the beginning I thought that they had to be animals; then I thought (and this happens very often: you restrict yourself by your own rules—well, I created that rule, so I can break that rule) it doesn’t have to be animals; it can be anything! It can be any theme.

It totally changed my whole career. It was a real breakthrough. It took off quickly.

Elaine Horwitch represented me, and she told me she would buy outright everything I did for as long as she represented me, and I would have a show every year. For sixteen years she never broke her word, and she would sell out. These pieces that started out at a few hundred dollars ended up being several thousand dollars. That’s when Disney wanted me to create vessels using Disney themes.

STUDIO VISIT

“ well, I created that rule, so I can break that rule” It really snowballed. It was the ‘80s. It was a crazy time for art, for the art world. People had a lot of money and they were spending it. In the ‘90s, things started to change. . . I also had a real desire to move on; it was time.

I started to create simple vessels with my own glazes that crackled. I got back into painting; I got involved in a book-art group in Santa Fe; I started doing things with collage and paper, then mixed media. The Museum of International Folk Art had an exhibition and fashion show about recycled art.

I thought it would be fun to take rusted material I found on our property and turn it into jewelry to be part of the fashion show. I sold every piece I made. So that was a whole new awakening. I

world here. But things changed, galleries started to close, and more contemporary, younger artists were coming up. We thought about ways we could give back, so we created Gallery Zipp. Zipp is Zen Inspired Professional Pagans, which we thought was fun. The idea was to create theme shows and invite young artists without representation to show alongside our friends who were already well established. For sixteen years, we had five or six shows a year, with twenty to forty artists in each.

Sometimes we had two hundred people come to an opening! We shared sales commissions with the artists, but never asked for anything else. That was a good thing, we felt. But it stopped working, so it was time to come up with something new.

supporting themselves totally by the sale of their work. That’s how Charles and I have lived, and we’ve been very fortunate.

I love making jewelry and making beautiful things. I love the materials, the stones. I go to sleep thinking about it: what kinds of colors and imagery I’ll use. I’m inspired by history, such as pre-Columbian and African gold forms. I can create abstract freeforms; I love making little bugs.

No rules, I just go for it. I’m finding that when I wear something out, I get a lot of attention. When someone buys a piece, they really love it, so I think I’m on the right track; I want to do it more. I feel like I’m starting from scratch again, and I’m excited about it.

started collecting other interesting materials and called it mixed-media jewelry.

Where do you find yourself now, and what’s coming up next? I took a class in Precious Metal Clay about ten years ago. But it was really when I started working with the bronze metal clay, about four years ago, that I felt like I was working with clay again. And it is a nice place to be at this stage in my life. I felt that it would open up another area of economic relief. It is really hard for two artists to live their whole lives together,

Tobias’s work will be available at form & concept, opening on Friday, May 27. She will be exhibiting at the SVA Makers Market on June 11 at the Metropolitan Pavilion in New York, and will be included in the group show Readymade: 100 Years at Axle Contemporary, May 13 – 22. Her bronze jewelry is available at Origins of Santa Fe and can be seen on her website, bunnytobias.com.

What was the impetus of your gallery space, Gallery Zipp? During the years that I was showing with Elaine, we were having a very successful time, which is unusual for artists. I worked my butt off, but it paid off. We were always represented by good galleries; we were always involved in the art

M AY

2016

THE magazine | 17

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ONE BOTTLE

O ne B ottle

The 2004 Pascal Redon Champagne Without Oak Premier Cru

by J oshua

“Desire is the only discipline.”

When I first heard the quote, in a chapel, in 1994, I thought, That can’t be true. Desire might be a discipline, one of many, especially for people who live and die by their emotions, but it’s not the only one. What about fifty lashes, time-outs, or a visit to the woodshed after supper? If desire is the only discipline, where does that leave self-discipline?

The chapel was in California, in the Santa Cruz Mountains.

The interior walls were paneled with large paintings of angels, animals, gods, people, and the ancient lands where they lived and died. My wife, Eliza, our children, Gabriel and Stella Maria, and I were listening to Mary Holmes, the lady who had built the chapel and painted the paintings. Mary was talking about her painting of the myth of Europa and the bull. Europa was seated on the bull’s back. She held two strands of braided flowers in her hands. The two strands led to the corners of the bull’s mouth.

“What about those flowers she’s holding?” said Stella Maria.

“Those are the bull’s reins,” said Mary.

“Wouldn’t they break?”

“If you pulled on them, they might. But Europa’s not pulling on them, and neither is the bull.”

“Why not?”

“Because Europa wants to go where the bull’s taking her, and he’s taking her where he and she want to go. The reins don’t need to be strong. Desire is the only discipline.”

The years went by like chapters in a book.

Mary died in 2002, at the age of ninety-one. In what seemed like the wink of an eye, Gabriel and Stella Maria went from being children to parents.

There were times when paying attention became impossible and times when paying attention was the only game in town. Age, delight, remorse, and sorrow took their turns at the wheel. Life went from being something I thought of as “mine” to a god I worshipped in secret, a voyage across the water on a ship where no one knew the captain’s name, a conversation with an angel where the angel’s face was hidden and his words were silent thoughts. The sun rose in the east and set in the west. My favorite time of day went from the hour after sunset to the hour before sunrise. The stars came out at night and told their stories. I listened by trying and failing to watch the space between the stars, the black distance that beats like a heart inside the body of the sky.

M AY

2016

B aer .

If I told you these memories made sense to me, I’d be lying. If I told you they didn’t, I’d be telling the same lie. The secret about doing what you want to do and saying what you want to say is that it works like a charm. It may offend your enemies, and it may not be the path to perfect realization but it has its advantages, especially when the alternative is doing what you don’t want to do and saying what you don’t want to say.

Which brings us to the 2004 Pascal Redon Champagne Without Oak Premier Cru. It’s impossible to look at a bottle of the 2004 Redon Champagne without imagining how good it will taste. The transparency of the bottle emphasizes the transparency of the Champagne, and vice versa. The transparency also reflects Pascal Redon’s decision not to age his 2004 Champagne in oak barrels. It’s almost as if he’s saying, “What I left out matters as much as what I left in.”

In the glass, the 2004 Redon becomes more faceted, more golden, and more rounded than it appeared to be in the bottle. If the color of the Champagne in the bottle had three dimensions, its color in the glass has four. The way the color changes each time you look at it verifies its naked transit through time.

The bouquet makes suggestions of innocence and purity but before you get the chance to appreciate them, they change into suggestions of decadence and lust. On the palate, the 2004 Redon resists all efforts to be categorized. My favorite aspect of this Champagne is the way it reminds me of nothing but itself. The finish is like the voice of a beautiful woman heard from a great distance. You may not be able to see her beauty but you can hear it in her voice.

People assume that simplicity is sacred, that keeping things simple will unlock the door to the truth. People make assumptions about transparency, too. They assume that transparency reveals the truth. The truth is just the opposite. If the truth doesn’t baffle you—if it doesn’t make you disoriented, nervous, and more than a little bit sick to your stomach—then it’s not the truth. The truth is dangerous, the same way God is dangerous, because we don’t have the capacity to know where it began or how it will end. That’s why the truth disguises itself, so we won’t get hurt by finding it.

Transparency is the ideal veil, the ultimate mask.

Wherever there’s transparency, there’s mystery, and wherever there’s mystery, there’s desire.

One Bottle is dedicated to the appreciation of good wines and good times, one bottle at a time. All contents are ©2016 by onebottle.com. Contact Joshua Baer at jb@onebottle.com.

THE magazine | 19

YEARS OF ARTISTS NEW MEXICO AdriaTEN Ellis Alan Pearlman Alexandra Eldridge Amy IN Westphal Andrea Broyles Andrea Kaliowski Andre Ruesch Anna Keller Ari Kalminson Arlo Namingha Arman Lara Atomic Ed August Muth Baron Wolman Battina Lancaster Bengt Erickson Bette Ridgeway Birgitte Bjerke BJ Quintana Bobbi Bennett Boril Cannupahanska Luger Hanska Carlo Ray Martinez Carol Anthony Carol Sarkisian Catherine Burke Cathi Smith Chace Haynes Chantal Maltais Chris Jonas Christian Ristow Christina Dallorso Christina Sporrong CJ Wells Clayton Porter Clea Carlson Connie Schaekel Conrad Cooper Dan Namingha David Michael Kennedy David Solomon David Wagner Deanne Richards Dean Stockwell Debbie Long Debbie Morse Dennis Hopper Diego Romero Dirk Kortz Don Roach Edwena Hawley Miner Eleanor Trabaudo Eliza Naranjo Morse Ellen Jantzen Ellie Scott Erika Wanenmacher Fernando del Gado Fionna Buck Francisco Beneitez Frank Buffalo Gaia Gail Reike Geniviv Wahl Grant Hayunga Gunnar Plake Guy Cross Helen Pfeffer Henry Aragoncillo Iris Vasquez Jack Parsons James Dean Faks James Koskinas James Moore Jamie Cross Jamie Hamilton Jane Goodall Jane Lackey Jane Rosemont Jason Poole Jax Manhoff Jeff Overlie Jennifer Esperanza Jennifer Lynch Jerry Wellman Jim Arender Jim Vogel Joan Zelenski Joaquin Dudelczyk Joe Bova Joel Hobbie John D’Emilio Joseph Sanchez Josie Adams Journeyway Price Juan Kelly Judy Ashbury Karina Noel Hean Kate Rivers Katherine Lee Katrina Lasko Kay Kahn Kerry Sherck Larry Bell Lawrence Fodor Leah Gonzales Lenny Foster Lisa De St Croix Lisa Law Lori Swartz Lydia Gonzales Lydia Hesse Madelin Coit Marcus Armeran Marion Wasserman Photographs By Mark Kane Mary Shaffer Matthew Chase -Daniel Matt Thomas Matt Young Maurice Burns Michael Sumner Michaela Gardner & Michael Jantzen Michael Lujan Michael NamAnne Staveley Dana Waldon ingha Michael Scott Michael Shaker Michael Wilding Michele Worstall Michell Marti Melody Sumner Munson Hunt Nancy Camacho Nancy Clusiau Nancy Ortenstone Nicolas Gadbois Nicolas Herrera Nina Elder Nocona Burgess Norman Mouskopf Patrick Kikut Patrick McFarland Patrick Mehaffy 5-8 PMPaula Castillo Paul Bloch Paul Sarkisian Peter Ogilivie Phillis Ideall Pierre Delattre Priscilla Hoback Rainer Wood Ray Belcher MAY 20, 2016 rt Stivers Ronnie Dunn Roseta SantiRichard Baron Richard Kurtz Robbi PHILCole SPACE ago Roxanne Swentzell Rueshka Rush Sadaf Cameron Sam Scott Sandra Filip pucca Sandra Filippucci Sandy Brown Sandy Vallencourt Sara Bienvenue Sarah Sense Sasha Vom Dorp Scott Momaday Sheilah Wilson Sheldon Krevit Sheryl Zachariah Siddiq Kahn SJ Shaffer Somers Randolph Sondra Goodwin Stacey Neff S t e p h e n Davis Steve Dulfer Steve Elmore Steven Jackson Stuart Erands Suzan Hamilton Tammy Garcia Tara Turdell Ted Larsen Terry Mulert ThomaParks Timothy Nero Tom Joyce Tony Abeyta Tony Buchen Ungelbah Davila Vince Kadlubek Wesley Berg Willard

SHOW

OPENING Firestone Robe

PHIL SPACE 1410 Second Street, Santa Fe, NM 87505

www.philspacesantafe.com

DINING GUIDE

Raw Vegan Sparkle Goat Cake at Indulge Cafe 317 Aztec St, 505-930-5983, comeindulge.wix.com photo: Clayton Porter

a guide to the best restaurants in santa fe 315 Restaurant & Wine Bar 315 Old Santa Fe Trail. 986-9190.

Dinner $$$ Full bar. Patio.

Cuisine: French. Atmosphere: An inn in the French countryside. House specialties: Steak Frites, Seared Pork Tenderloin, and the Black Mussels.

Comments: Terrific wine list and a “can’t miss” bar menu. Winner of Wine Spectator’s Award of Excellence.

Andiamo 322 Garfield St. 995-9595.

Lunch/Dinner $$ Beer/Wine. Patio.

Cuisine: Italian. Atmosphere: Casual.

House specialties: Start with the Steamed Mussels or the Roasted Beet Salad. For your main, choose the Chicken Marsala or the Pork Tenderloin.

Comments: Great pizza.

Café Fina

624 Old Las Vegas Hiway. 466-3886.

Breakfast/Lunch/Dinner $$ Wine/Beer Cuisine: We call it contemporary comfort food. Atmosphere: Casual.

House specialties: For breakfast, both the Huevos Motulenos and the Eldorado Omelette are winners. For lunch, try their soup. We love the One for David Fried Fish Sandwich.

Café Pasqual’s 121 Don Gaspar Ave. 983-9340.

Breakfast/Lunch/Dinner $$$ Beer/Wine.

Cuisine: Multi-ethnic. Atmosphere: Adorned with Mexican streamers and Indian posters. House specialties: Hotcakes got a nod from Gourmet The Huevos Motuleños is a breakfast that you will really love.

Arroyo Vino 218 Camino La Tierra. 983-2100.

Dinner $$$$ Full bar.

Cuisine: Progressive American.

Atmosphere: Warm and welcoming.

House specialties: The Charcuterie Plate, the Grapefruit and Almond Salad, the Prosciutto Wrapped Norwegian Cod, and the N.M. Rack of Lamb. Comments:. Superior wines in the restaurant and wine shop.

Chez Mamou 217 E. Palace Ave. 216-1845.

Breakfast/Lunch/Dinner $$$ Beer/Wine.

Cuisine: Artisanal French Bakery & Café. Atmosphere: Casual. House specialties: Start with the Prosciutto Melon Salad. For your main, try the Paillard de Poulet: lightly breaded chicken with lemon and garlic sauce, or the Roasted Salmon with white dill. Comments: Pasta dishes rule.

Beestro 101 W. Marcy St. 629-8786 Breakfast/Lunch $ No alcohol. Patio.

Cuisine: Standard coffee-house fare.

Atmosphere: Casual. House specialties: Chef-made Panini, salads, sanwiches, Soups, coffee drinks. Comments: Takeout or dine-in.

Chocolate Maven 821 W. San Mateo Rd. 984-1980 Breakfast/Lunch/Brunch $ Cuisine: American. Atmosphere: Real casual. House specialties: Pastries, croissants, pies, and cakes. Eggs Benedict, Nicoise Tuna Salad, and the tasty Brie and Chicken Wrap. Comments: A great lunch spot.

Bouche 451 W. Alameda St 982-6297 Dinner $$$ Wine/Beer Cuisine: French Bistro fare. Atmosphere: Intimate with an open kitchen. House specialties: The Bistro Steak and the organic Roast Chicken are winners.

Comments: Chef Charles Dale is a pro.

Counter Culture 930 Baca St. 995-1105.

Breakfast/Lunch/Dinner $$ Beer/Wine. Patio. Cash only.

Cuisine: All-American. Atmosphere: Informal. House specialties: Burritos Frittata, Sandwiches, Salads, and the perfect Grilled Salmon are our favorites.

Best for brunch.

Cowgirl Hall of Fame 319 S. Guadalupe St. 982-2565.

Breakfast/Lunch/Dinner $$ Full bar. Patio.

Cuisine: Good old American. fare.

Atmosphere: Patio shaded by big cottonwoods. Great bar. House specialties: The smoked brisket and ribs are the best. Super buffalo burgers.

Comments: Nice selection of beer.

Coyote Café 132 W. Water St. 983-1615.

Dinner $$$$ Full bar.

Cuisine: Southwestern with French and Asian influences. Atmosphere Bustling.

House specialties: The grilled Maine Lobster Tail or the 24-ounce “Cowboy Cut” steak.

Dr. Field Goods Kitchen 2860 Cerrillos Rd. 471-0043.

Lunch/Dinner $$ Beer/Wine Cuisine: New Mexican Fusion.

Atmosphere: Casual and friendly.

House specialties: Faves: the Charred Caesar Salad, Steak Frite.

El Mesón 213 Washington Ave. 983-6756.

Dinner $$ Full bar.

Cuisine: Spanish. Atmosphere: Spain could be just around the corner. Music nightly. House specialties: Tapas reign supreme here as well as vegetarian dishes. Comments: Music nightly.

Fire & Hops 222 S. Guadalupe St. 954-1635 Dinner $$$ Beer/Wine. Patio.

Cuisine: Sustainable local food.

Atmosphere: Casual and friendly.

House specialties: Brussel Sprouts, Braised Pork Belly, and the Cubano Sandwich. Comments: Nice selection of beers on tap or bottles.

Georgia 225 Johnson St. 989-4367. Patio.

Dinner $$$$ Full bar.

Cuisine: Clean and contemporary.

Atmosphere: Friendly and casual.

House specialties: Start with the Charcuterie Plate or the Texas Quail. Entrée: Try the PanRoasted Salmom—it is absolutely Comments: Good delicious. wine list, a sharp wait-staff, and a bar menu that you will love.

Geronimo 724 Canyon Rd. 982-1500.

Dinner $$$$ Full bar. Patio.

Cuisine: We call it French/Asian fusion.

Atmosphere: Elegant and stylish. House specialties: Start with the superb foie gras. Entrées we love include the Green Miso Sea Bass and the classic peppery Elk tenderloin. Comments: Top-notch service.

Harry’s Roadhouse 96 Old L:as Vegas Hwy. 986-4629 Breakfast/Lunch/Dinner $$ Full bar.

Cuisine: American and New Mexican.

Atmosphere: Down home House specialties: For breakfast go for the Scrambled Eggs with Smoked Salmon, Cream Cheese. For lunch: the out-ofthis-world Buffalo Burger. Dinner: the Hanger Steak.

Indulge Cafe 317 Aztec St. 930-5983.

Lunch $$ Cuisine: American, vegetarian, vegan options. Atmosphere: Charming and cozy. House specialties: We love the Perfect Portobello Panini and the Grilled Cheese Sandwich. Comments: Try one of the delicious vegan desserts with an espresso.

Il Piatto Italian Farmhouse Kitchen 95 W. Marcy St. 984-1091.

Lunch/Dinner $$ Full bar.

Cuisine: Italian. Atmosphere: Bustling.

House specialties: Our faves: the Arugula and Tomato Salad, the Lemon Rosemary Chicken, and the Pork Chop stuffed with mozzarella, pine nuts, and prosciutto. Comments: Farm to table.

Izanami 3451Hyde Park Rd. 428-6390.

Lunch/Dinner $$$ Sake/Wine/Beer Cuisine: Japanese-inspired small plates.

Atmosphere: A sense of quietude.

House specialties:. The Nasu Dengaku, eggplant and the Pork Belly with Ginger BBQ Glaze. Comments: Great selection of Sake.

Jambo Cafe 2010 Cerrillios Rd. 473-1269.

Lunch/Dinner $$ Cuisine: African and Caribbean inspired.

Atmosphere: Real casual. House specialties: Jerk Chicken Sandwich and the Phillo, stuffed with spinach, black olives, feta cheese. Comments: Soups reign supreme.

Joseph’s Culinary Pub 428 Montezuma Ave. 982-1272 Dinner. $$$ Beer/Wine Cuisine: Innovative. Atmosphere: Intimate. House specialties: Start with the Butter Lettuce Wrapped Pulled Pork Cheeks. For your main, try the Crispy Duck, Salt Cured Confit Style.

Comments: The bar menu features Polenta Fries and the New Mexican Burger.

Kohnami Restaurant 313 S. Guadalupe St. 984-2002.

Lunch/Dinner $$ Beer/Wine/Sake. Patio.

Cuisine: Japanese. Atmosphere: Easygoing. House specialties: Miso soup; Soft Shell Crab; Dragon Roll; Chicken Katsu; noodle dishes; and Bento Box specials. Comments: Love the Sake.

Loyal Hound 730 St. Michael’s Drive. 471-0440 Lunch/Dinner. $$ Beer/Wine. Patio.

Cuisine: Comfort food. Atmosphere: Casual and unpretentious. House specialties: Shrimp and Grits, Beer Battered Fish and Chips, Braised Bison Short Rib Nachos, and Southern Fried Chicken. Comments: Nice selection of beer and wine.

continues on page 23 M AY

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THE magazine | 21

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25th Anniversary 2016

May 14 & 15 10 - 5 each day

Artists Reception: Preview Gallery May 13, 5 – 7 pm

94 Artists 59 Studios

Eldorado Community Center 1 La Hacienda Loop

Eldorado Arts & Crafts Association* hosts the largest studio tour in New Mexico. Begin the 25th Anniversary Eldorado Studio Tour at the Preview Gallery to view the creative work of 94 artists, pick up a brochure and choose studios to visit.

For details: eldoradostudiotour.org *EACA is a 501 © 4 non-profit organization

Eldorado Studio Tour Thanks These Underwriters

DINING GUIDE

Triple Cheeseburger with Shoestring Fries at Shake Foundation 631 Cerrillos Rd, 505-988-8992, shakefoundation.com photo: Clayton Porter Midtown Bistro 910 W. San Mateo, Ste A. 820-3121.

Lunch/Dinner $$ Beer/Wine/ Patio.

Cuisine: American fare with a Southwestern twist. Atmosphere: House Beautiful open room. specialties: For lunch: the Pacific Blue Crab Cakes or the Baby Arugula Salad or the Chicken or Pork Taquitos.

Dinner: Seared Pork Tenderloin or the Alaskan Halibut.

Mu Du Noodles 1494 Cerrillos Rd. 983-1411.

Dinner $$ Beer/Wine.

Cuisine: Pan-Asian.

Atmosphere: Casual. House specialties: Vietnamese Spring Rolls and Green Thai Curry, Comments: Organic.

New York Deli Guadalupe & Catron St. 982-8900.

Breakfast/Lunch $$ Cuisine: New York deli. Atmosphere: Large open space. House specialties: Soups, Salads, Bagels, Pancakes, and gourmet Burgers.

Nexus 4730 Pan American Fwy East. Ste. D. Alb. 505 242-4100 Breakfast/Lunch/Dinner $ Cuisine: Southern & New Mexican.

Atmosphere: Brew-pub.

House specialties: Lots of suds and growlers, amazing Southern Fried Chicken Recomendations: Collard Greens, Mac n’ Cheese with green chile, Gumbo.

Plaza Café Southside 3466 Zafarano Dr. 424-0755.

Breakfast/Lunch/Dinner $$ Full bar.

Cuisine: American and New Mexican.

Atmosphere: Bright and light. House specialties: Breakfast: go for the Huevos Rancheros or the Blue Corn Piñon Pancakes. All of the burritos are great. Comments: Green Chile is perfect.

Radish & Rye 548 Agua Fria St. 505-930-5325 Dinner $$$ Full bar. Patio.

Cuisine: Contemporary American with a Southern twist. Atmosphere:

M AY

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Upscale casual. House specialties: Seasonal menu featuring locally sourced produce, meat, and poultry.

Offering over 70 different Bourbon, Whiskey and Rye selections.

Comments: Try the Abuelito cocktail, the Fried Green Tomato, and the Sea Scallop Ceviche.

Rio Chama Steakhouse 414 Old Santa Fe Trail. 955-0765.

Lunch/Dinner/Bar Menu $$$ Full bar.

Cuisine: All-American. Atmosphere: Easygoing. House specialities: Steaks, Prime Ribs, and Burgers. Haystack fries rule. Recommendations: Excellent wine list.

Sage Bakehouse 535 Cerrillos Rd. 505-820-7243.

Breakfast/Lunch. $ Espresso Drinks Cuisine: Bakery and light fare.

Atmosphere: Casual, welcoming, friendly staff. House specialties: Variety of breads, tartines, and pastries.

Comments: Try the almond croissant, the avocado tartine, and the ham and gruyère tart.

Santacafé 231 Washington Ave. 984-1788.

Lunch/Dinner $$$ Full bar. Patio.

Cuisine: Southwest Contemporary.

Atmosphere: Minimal, subdued, and elegant House specialties: Their world-famous calamari never disappoints. Favorite entrées include the grilled Rack of Lamb and the Pan-seared Salmon with olive oil crushed new potatoes and creamed sorrel.

Santa Fe Bar & Grill 187 Paseo de Peralta. 982-3033.

Lunch/Dinner $$ Full bar. Patio.

Cuisine: American and New Mexican.

Atmosphere: Casual and friendly.

House specialties: Cornmeal-crusted Calamari, Rotisserie Chicken, or the Rosemary Baby Back Ribs.

Santa Fe Bite 311 Old Santa Fe Trail. 982-0544 Breakfast/Lunch/Dinner $$ Cuisine: American and New Mexican.

Atmosphere: Casual and friendly. House specialties: Lunch: the juicy 10 oz. chuck and sirloin Hamburger or the Patty Melt.

Dinner: the Ribeye Steak is a winner. The Fish and Chips rivals all others in Santa Fe. Comments: Try any of the burgers on rye toast instead of a bun.

Santa Fe Capitol Grill 3462 Zafarano Drive. 471-6800.

Lunch/Dinner $$ Full bar.

Cuisine: New American fare.

Atmosphere: Contemporary. House specialties: Tuna Steak, ChickenFried Chicken with mashed potates and bacon bits, and the New York Strip with a yummy Mushroom Peppercorn Sauce.

Desserts are on the mark. Comments: Nice wine selection.

Saveur 204 Montezuma St. 989-4200.

Breakfast/Lunch $$ Beer/Wine. Patio.

Cuisine: French meets American.

Atmosphere: Casual.

Buffet-style service for salad bar and soups. House specialties: Hot daily specials, gourmet sandwiches, get the Baby-Back Ribs when available.

Second Street Brewery 1814 Second St. 982-3030.

Lunch/Dinner $$ Beer/Wine. Patio.

Cuisine: Pub grub. Atmosphere: Real casual. House specialties: We enjoy the Beer-steamed Mussels, the Calamari, and the Fish and Chips.

Comments: Visit the railyard location.

Shake Foundation 631 Cerrillos Rd. 988-8992.

Lunch/Dinner $$ Cuisine: All American Burger Joint.

Atmosphere: Casual with outdoor table dining. House specialties: Green Chile Cheeseburger, the Classic Burger, and Shoestring Fries. Amazing shakes made with Taos Cow ice cream. Comments: Sirloin and brisket blend burgers.

Shohko Café 321 Johnson St. 982-9708.

Lunch/Dinner $$$ Sake/Beer.

Cuisine: Authentic Japanese Cuisine.

Atmosphere: Sushi bar, table dining.

House specialties: Softshell Crab

Tempura, Sushi, and Bento Boxes.

Sweetwater 1512 Pacheco St. 795-7383 Breakfast/Lunch/Dinner $$ Beer/Wine Cuisine: Innovative natural foods.

Atmosphere: Large open room.

House specialties: The Mediterranean Breakfast—Quinoa with Dates, Apricots, and Honey. Lunch: the Indonesian Vegetable Curry on Rice; Comments: Wine and Craft beers on tap.

The Compound 653 Canyon Rd. 982-4353.

Lunch/Dinner $$$ Full bar. Patio.

Cuisine: American Contemporary.

Atmosphere: 150-year-old adobe.

House specialties: Jumbo Crab and Lobster Salad. The Chicken Schnitzel is always flawless. All of the desserts are sublime. Comments: Chef and owner Mark Kiffin, won the James Beard Foundation’s “Best Chef of the Southwest” award.

The Palace Restaurant & Saloon 142 W. Palace Avenue 428-0690 Lunch/Dinner $$$ Full bar. Patio Cuisine: American Atmosphere: Spanish Colonial aesthetic. House Specialties: Prime Rib or the Lemon Salmon Beurre Blanc. Dinner: go for the Lavender Honey-Glazed Baby Back Rib, or the Prime Rib Enchilada Comments: Bar scene.

The Ranch House 2571 Cristos Road. 424-8900 Lunch/Dinner $$$ Full bar.

Cuisine: Barbecue and Grill.

Atmosphere: Family and very kidfriendly. House specialties: Josh’s Red Chile Baby Back Ribs, Smoked Brisket, Pulled Pork, and New Mexican Enchilada Plates. Comments: The best BBQ ribs.

The Shed 113½ E. Palace Ave. 982-9030.

Lunch/Dinner $$ Beer/Wine. Patio.

Cuisine: New Mexican. Atmosphere: A local institution located just off the Plaza. House specialties: If you order

the red or green chile cheese enchiladas. Comments Always busy, you will never be disappointed.

The Teahouse 821 Canyon Rd. 992-0972.

Breakfast/Lunch/Dinner $ Beer/Wine. Fireplace.

Cuisine: Farm-to-fork-to-tableCasual. to-mouth. Atmosphere: House specialties: For breakfast, get the Steamed Eggs or the Bagel and Lox or the Teahouse Oatmeal.

A variety of teas from around the world available.

Tune-Up Café 1115 Hickox St. 983-7060.

Breakfast/Lunch/Dinner $$ Beer/Wine Cuisine: All World: American, Cuban, Salvadoran, Mexican, New Mexican.

Atmosphere: Down home. House specialties: Breakfast:We like the Buttermilk Pancakes. Lunch: Great specials.

Vanessie of Santa Fe 434 W. San Francisco St. 982-9966 Dinner $$$ Full bar.

Cuisine: American.

Atmosphere: Piano bar and oversize everything, thanks to architect Ron Robles. House specialties: New York steak and the Australian rock lobster tail. Comments: Great appetizers.

Vinaigrette 709 Don Cubero Alley. 820-9205.

Lunch/Dinner $$ Beer/Wine.

Cuisine: American. Atmosphere: Light, bright and cheerful. House specialties: Organic salads. We love all of the salads, especially the Nutty Pear-fessor Salad and the Chop Chop Salad.

Verde 851 W. San Mateo Rd. 820-9205.

Juice bar $$ Cuisine: Gourmet, cold-ressed Atmosphere: Light, Juices.

House bright, and cheerful. specialties: Eastern Roots: a blend of fresh carrot and apple juice with ginger and turmeric juice, spinach, kale, and parsley.

THE magazine | 23

Bisti Badlands - Aya Trevino

555

Hiroshima - FORGE

2016 Exhibitions: Printed Matter II - Noir Savior - Eye - Street Art Expo - Ink Different - UGLY Steven Paul Judd - Dia de Los Muertos - Fall Festival Show - 2016 Studio Tour

555 TAOS - Event-Based Art / Performance - Culture - Workshops / Rentals - Call for Artists Serigraphs by FORGE & Nick Beason - Photography by Aya Trevino 1022 Reed St. TAOS - Events / Private Viewings - 555taos.com - Dates / Details - 505-316-0237

FLASHBACK

M AY

2016

THE magazine | 25

New Baroque: The Imperfect Pearl Closing reception: Saturday, May 7 from 5:00 - 7:00 PM Audience will vote to decide the winner of the photography competition for the fashion event, Going For Baroque (which was held April 23)

The Narrative Figure Featuring: Esteban Cabeza de Baca, Michael Dixon, Jeffrey Hargrave, Michael Hilsman, and Daisy Quezada Five young artists from New York and Santa Fe exploring figuration in contemporary art.

Exhibition: May 13 through July 4, 2016 Opening Reception: Friday, May 13th | 5:00 - 7:00 PM

Esteban Cabeza de Baca, Illusion of Oasis Making You Look Twice, 2015, Oil on canvas, 72” x 72”

Plugged In Featuring: C. Alex Clark, Anne Farrell, Christian Haub, Noah Klersfeld, Matthew Kluber, Matthew Penkala, Chase Stafford Plugged In, revisits the gallery’s roots in the exploration of post-1960s abstraction with a gathering of artists influenced both by earlier developments and modern technology.

Exhibition: May 13 through July 4, 2016 Opening Reception: Friday, May 13th | 5:00 - 7:00 PM Anne Farrell, Billboard, 2013, Video, 7.5” x 11” x 1.5” edition 1/3

DavidrichardGALLEry.com DAVID RICHARD GALLERY

1570 Pacheco Street, A1, Santa Fe, NM 87505 505-983-9555 | info@DavidRichardGallery.com DavidRichardSFe DavidRichardGallery

OPENINGS

MAY ART

OPENINGS

SUNDAY, MAY 1

SATURDAY, MAY 7

New Mexico History Museum, 113 Lincoln Ave. 505-476-5200. nmhistorymuseum.org.

Lowriders, Hoppers and Hot Rods: Car Culture of Northern New Mexico: meet the families of dreamers, engineers, artists and upholsterers who craft these specialized vehicles. 12-4 pm.

Lecture 2 pm.

Canyon Fine Art, 205 Canyon Rd. 505955-1500. canyonfineart.com. Grand opening event. Previously Greenberg Fine Art, the gallery is under new ownership by Paul & Carol Hartsock. 2-6 pm.

FRIDAY, MAY 6

Chiaroscuro Contemporary Art, 558 Canyon Rd. 505-992-0711. chiaroscurosantafe. com. Dick Evans: Unsung Memories and Penny Truitt: Intersect: presenting Evans’s recent paintings and Truitt’s ceramic and steel sculptures. Through May 30. 5-7 pm.

Christopher Martin Gallery, 644 Canyon Rd. 505-303-3483. christophermartingallery. com. Spring: grand opening and inaugural exhibition of paintings by Christopher H. Martin with metal sculptures by Michael Enn Sirvet.

5-9 pm. Reception continues Saturday, May 7, 4-8 pm.

David Rothermel Contemporary, 142 Lincoln Ave, #102. 575-642-4981. drcontemporary.com. Group Show: abstracted works of Jill Amundsen, Ellen Koment, Stephen Lang, Matt Neuman, Loren Yagoda, Stephen Buxton, Paul Kane, Stan Berning and David Rothermel.

Through June 2. 5-7 pm.

New Mexico State Capitol Rotunda Gallery, 411 State Capitol. 505-986-4614. The Ecozoic Era: Plant|Seed|Soil: group exhibition of contemporary art that illuminates our connection to the Earth as living beings. Through August 5. 4-6 pm.

Nüart Gallery, 670 Canyon Rd. 505-9883888. nuartgallery.com. Santiago Pérez: In the Night Kitchen: new figurative paintings.

Through May 22. 5-7 pm.

Santa Fe Art Institute, Santa Fe University of Art and Design, 1600 St Michael’s Dr. 505424-5050. sfai.org. Luis Garay, Creation Myths of Mesoamerica: works on Quetzalcoatl and Popol Vuh and illustrations from his children’s book on immigration, The Long Road. Exhibition talk Thursday, May 12, 7-9 pm. Through May 27. 5-7 pm.

Tamarind Institute, 2500 Central Ave SE, ABQ. 505-277-3901. tamarind.unm. edu. Excavated: lithographs by 16 students currently working at Tamarind Institute. May 6 through May 12. 6-8 pm.

Verve Gallery of Photographry, 219 E Marcy St. 505-982-5009. vervegallery.com. Bellas Figuras: photography by Brigitte Carnochan, Elizabeth Opalenik, Josephine Sacabo, and Diana Hooper Bloomfield. Through June 11.

5-7 pm. Gallery talk Saturday, May 7, 2 pm.

Weyrich Gallery, 2935 D Louisiana Blvd, ABQ. 505-883-7410. weyrichgallery.com. Let the Mystery Be: new ceramic work by Betsy Williams-Potter. Through May 28. 5-8:30 pm.

Van Loon Gallery, 612 Agua Fria St. 360298-1382. Symbol: new works by Thomas Christopher Haag, including paintings, prints, mural and found-object collage. Through May 7. Closing reception 5-9 pm.

Tansey Contemporary, 652 Canyon Rd. tanseycontemporary.com. Dissonance: solo exhibition of artist Carol Coates, using photography, print, and paint on wood. Through June 5. 5-7 pm.

FRIDAY, MAY 13

Turner Carroll, 725 Canyon Rd. 505-9869800. turnercarroll.com. The Book of John: John Barker, Paintings and Toys: solo exhibition exploring the contraries of Poetic Genius as described by William Blake: Attraction and Repulsion; Love and Hate; Energy and Reason.

Through May 31. 5-7 pm.

David Richard Gallery, 1570 Pacheco St, Ste A1. 505-983-9555. davidrichardgallery.com.

New Baroque: The Imperfect Pearl. Viewers to vote on photography competition. Closing reception. 5-7 pm.

Axle Contemporary, location varies. axleart. com. The Readymade: 100 Years: group exhibition in celebration of the 100 year anniversary of the term Marcel Duchamp used to describe a series of his work. Through May 22.

Free Form Art Space, 1619 Camino de Baca Ln. 847-219-5323. freeform.com. Ilse Bolle and Sally Chiu: Layers in Time: work in multi-layered handmade paper, encaustic constructions, and oil paintings. Through May 29. Reception with live music by Jerry Weimer and Mario Febres.

4-6 pm.

David Richard Gallery, 1570 Pacheco St, Ste A1. 505-983-9555. davidrichardgallery. com. The Narrative Figure: figurative work by six young artists from Santa Fe and New York.

Plugged In: artists influenced by 1960s abstraction and modern technology. Through July 4.

5-7 pm.

Magpie, 1405 Paseo del Pueblo Norte, El Prado. 781-248-0166. magpietaos.com. Ruchell Alexander: recent work by Alexander, who was mentored by artist Bill Gersh and is often inspired by music. Through June 10. 5-7 pm.

Exhibit/208, 208 Broadway SE, ABQ. 505450-6884. exhibit208.com. Joshua Willis: Network: mixed-media, found-object constructions by Albuquerque-based Willis. Through May 28. 5-8 pm.

Old San Ysidro Church, 966 Old Church Rd, Corrales. 505-379-2883. fresco777.com. Stephen Michael Bennett: Reflect: contemplative, atmospheric works in the medium of fresco.

5-8 pm.

Peters Projects, 1011 Paseo de Peralta. 505954-5800. petersprojects.com. Kiki Smith: Woven Tales: solo exhibition of eleven ten-foot-tall tapestries. Through July 30. 5-7 pm.

SATURDAY, MAY 14

Richard Levy Gallery, 514 Central Ave SW, ABQ. 505-766-9888. levygallery.com. Xuan Chen: Empty and Full: a selection of paintings and an installation by the Albuquerque-based artist.

In the project room: Hayley Rheagan: Pieces, Parts, Place: photographs that play with abstracting urban architecture.Through May 27. 6-8 pm.

Rio Bravo Fine Art Gallery, 110 N Broadway Ave, T or C. 575-894-0572. Underneath the Western Skies: new paintings by Dave Barnett. 6-9 pm.

SUNDAY, MAY 15

Placitas Artists Series, Las Placitas Presbyterian Church, 7 Paseo de San Antonio, Placitas.

505-867-8080. placitasartistsseries.org. Group exhibition: Jade Leyva, painting and pottery; Marcia Petty, dyed silk, rayon and cotton fiber art; Chris Thoeni, fiber art; and P. K. Williams, water media. Through May 28. 2-3 pm.

FRIDAY, MAY 20

New Mexico Museum of Art, 107 W Palace Ave, 505-476-5072. nmartmuseum.org. Finding a Contemporary Voice: The Legacy of Lloyd Kiva New and IAIA: work from the museum’s collection by IAIA faculty and alumni from the 1960s to the present. Con Cariño: Artists Inspired by Lowriders: exploring the transformation of an abandoned car into a sculpture on wheels. Both through Oct 10. Public opening 5:30-7:30 pm.

Santa Fe Clay, 545 Camino de la Familia.

505-984-1122. santafeclay.com. John Beckelman, Bede Clarke, Candice Methe: three master ceramic artists exploring the finer nuances of the vessel. Through July 2. 5-7 pm.

Santa Fe Community Gallery, 201 W Marcy St. 505-955-6705. Narrows: group exhibition

by Strangers Collective including 32 local emerging artists and writers. The show’s title is a reference to the small apartments and studio spaces where artwork takes shape.

Through June 4. 5-8 pm.

SATURDAY, MAY 21

Harwood Museum of Art, 238 Ledoux St. 575758-9826. harwoodmuseum.org. Mabel Dodge Cris Pulos, Harvest Scene. Eye of the Photographer opens at David Anthony Fine Art and Wilder Nightingale Fine Art, Taos, on Sat, May 28, 4-5:30 pm. Through July 4.

continues on page 30 M AY

2016

THE magazine | 27

THE REAL DEAL

For artists without gallery representation in New Mexico.

Full-page ads: $1000.

Reserve space in the May issue by April 15.

505-424-7641, sales@themagsantafe.com

The Big Show with Honey Harris and THE magazine Thursday, April 7 10:30 am

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Send us your OUT & ABOUT pictures editor@themagsantafe.com

OUT & ABOUT

photos: Audrey Derell, Guy Cross, Laura Shields

OPENINGS

Luhan & Company: the life and times of one of the early 20th century’s most significant cultural figures: Mabel Dodge Luhan (1879-1962). The show will include 150 works of art and ephemera. Free community day. 10-5 pm.

SUNDAY, MAY 22

New Mexico History Museum, 113 Lincoln Ave. 505-476-5200. nmhistorymuseum.org.

Fractured Faiths: Spanish Judaism, The Inquisition, and New World Identities: this show tells the story of Spanish Jewry’s 1492 diaspora.

Through Dec 31. 10-5 pm.

ing artist Susan Begy’s extraordinary encounter with a spacecraft. Through May 8.

Branigan Cultural Center, 501 North Main St, Las Cruces. 575-541-2154. New Mexico Watercolor Society Southern Chapter 2016 Juried Member Show: Our Living Culture.

Pictograff: The Art of WarPrayer: featuring artwork by aerosol artists iLash, Release, Woar2, Dwayno Insano, and Saba. Both through May 21. Visions of Our Monument: Portraits of the Organ Mountain Desert Peaks National Monument: featuring work by Meg G. Freyermuth created during her residency for the OMDP National Monument. Through June 4.

FRIDAY, MAY 27

Evoke Contemporary, 550 S Guadalupe St. 505-995-9902. evokecontemporary.com.

Iconic: summer group exhibition featuring Javier Marín. Through June 18. 5-7 pm. & concept, 435 Guadalupe St. 505-9828111. formandconcept.center. Made in the Desert: the gallery’s grand opening and inaugural exhibition of contemporary craft from New Mexico and Arizona including an array of media, from ceramic to neon. Through Aug 22. 5-7 pm. form

Hunter Kirkland Contemporary, 200-B Canyon Rd. 505-984-2111. hunterkirklandcontemporary.com. Jennifer J. L. Jones: Hypnotic Starlings: Jones’s latest paintings inspired by her travels. Through June 5. 5-7 pm.

Nüart Gallery, 670 Canyon Rd. 505-9883888. nuartgallery.com. Cecil Touchon: new work. Through June 12. 5-7 pm.

Patina Gallery, 131 W Palace Ave. 505-9863432. patina-gallery.com. Rhythmical Arrangements: master maker Petra Class presents her latest collection inspired by the luster of the Jazz Age. 5-7 pm.

Ruhlen-Owen Contemporary, 225 Canyon Rd. owencontemporary.com. Creative Transition: inaugural group exhibition under new gallery owner Tim Owen features artwork from gallery artists, and includes painting and sculpture. 5-7 pm.

SATURDAY, MAY 28

David Anthony Fine Art, 132 Kit Carson Rd, Taos. 575-758-7113. davidanthonyfineart. com. With Wilder Nightingale Fine Art, 119-A Kit Carson Rd, Taos. 575-758-3255. wnightingale.com. Eye of the Photographer: Four Guys, Two Galleries: a collaborative photography exhibition that will feature four northern New Mexico photographers: William Davis, Steven Immel, Chris Pulos, and Terry Thompson. Through July 4. 5:30-7:30 pm.

Canyon Road Art Brokerage, online. canyonroadartbrokerage.com. 505-995-1111.

Michael Fitzhugh Wright: paintings. Through May 31.

Center for Contemporary Arts, 1050 Old Pecos Tr. 505-982-1338. ccasantafe.org. The Breaking Ring: Colorado-based art collective M12 presents a site-specific installation and sculpture about wild horses in the American West developed during their residency at Santa Fe Art Institute in 2015. A Very Long Line: a video installation by Postcommodity, a trans-disciplinary arts collective based in Santa Fe known for its site-responsive projects that amplify a shared 21st century indigenous perspective. Both through June 19.

Central Features Contemporary Art, 514 Central Ave SW, #2, ABQ. 505-252-9983. centralfeatures.com. Jami Porter Lara: Unhy-

phenated: new ceramic works that engage ancient pueblo pottery traditions to create sculptural forms inspired by the plastic bottle. J Matthew Thomas: Geometries: Thomas creates paintings by layering various kinds of discarded paper and sanding through the layers to reveal colors, textures, and text. Both through May 14. Exhibition walk-through with the artists Sat, May 14, 4 pm.

City of Mud, 1114A Hickox. 505-9541705. cityofmud.com. UnderSee: Subliminal and Sublime: group show featuring aquatic and subconscious art, curated with artifacts, jewelry and décor to coordinate with the theme. Through June.

Edition One Gallery, 1036 Canyon Rd. 505-570-5385. editionone.gallery. WOMAN: a group show of contemporary photography in celebration of Women’s History Month.

Through May 20.

Encaustic Art Institute, 632 Agua Fria St. 505-989-3283. eainm.com. Over 200 pieces of encaustic and wax art from artists nationwide, for sale and a permanent collection.

Ongoing.

Evoke Contemporary, 550 S Guadalupe St. 505-995-9902. evokecontemporary.com.

Joan of Arc: Voices of Light: exhibition featuring Sandra Filippucci, curated by Linda Durham. Through May 21.

Georgia O’Keeffe Museum, 217 Johnson St. 505-946-1000. okeeffemuseum.org.

Georgia O’Keeffe’s Far Wide Texas: a selection of rarely seen watercolors, painted by Georgia O’Keeffe during the years she lived in Canyon, Texas (1916-1918). Through Oct 30.

IAIA Museum of Contemporary Native Arts, 108 Cathedral Pl. 888-922-4242. iaia. edu. Groundbreakers: BFA Exhibition: annual BFA graduating student exhibition. Through May 14. Closing reception Fri, May 13, 5-7 pm. Lloyd Kiva New: Art, Design, and Influence: celebrating the work of Cherokee artist and educator Lloyd Henri “Kiva” New (1916-2002). Through July 31. Akunnittinni: A Kinngait Family Portrait: dialogue between an Inuk grandmother, mother, and daughter. Through July 31. Forward: Eliza Naranjo Morse: drawing, clay, organic and recycled materials. Highlighted is her mural, And We Will Live Off the Fat of the Land, a 38-footlong procession of beetles adorned in beautifully detailed Native attire. Through July 31.

Institute of American Indian Arts, Lloyd Kiva New Welcome Center, 83 Avan Nu Po Rd. iaia.edu. Lloyd “Kiva” New: Touching Native Inspiration: this year is the centennial of the birth of Native American artist Lloyd Kiva New (Cherokee, 1916-2002), the first artistic director of the IAIA, known nationally as the “Godfather of Native Fashion.” This exhibition features reproductions of some early textiles, paintings, and watercolors. Through 2016.

James Kelly Contemporary, 1611 Paseo de Peralta. 505-989-1601. jameskelly.com. Tom Miller: Set to Topple & Equivalent Architecture: solo exhibition of new paintings and sculptural installation addressing concepts raised by material divisions. Through May 21.

LewAllen Galleries, 1613 Paseo de Peralta.

505-988-3250. lewallengalleries.com. Henry Jackson: Continuum: a new body of paintings that apply wax, solvent, and pigments to canvas. Through June 5.

Mayeur Projects, 200-202 Plaza Park, Las Vegas. 505-652-7877. mayeurprojects.com. The gallery and artist residency enterprise present two inaugural exhibitions in its new space: Ross Caliendo: Tomorrow: solo exhibition of new work by the Los Angeles–based painter.

Virginie Mossé: Time as Desert: presenting work created during a residency at the Caza d’Oro Art Center in the South of France. Both through May 14.

Museum of Indian Arts & Culture, 710708 Camino Lejo, 505-476-1269. miaclab.org.

Landscape of an Artist: Living Treasure Dan Namingha: every year at the Museum of Indian Arts and Culture’s Native Treasures Indian Arts Festival, the museum honors an artist as an MIAC Living Treasure. This year, Dan Namingha will be honored. Through Sept 11.

ONGOING

ART HOUSE, Thoma Foundation, 231 Delgado St. 505-995-0231. Luminous Flux 2.0: technological artworks spanning over fifty years of the digital art genre and including computer, light-based and electronic artworks from pioneering experimenters and contemporary innovators. Through May. Axle Contemporary, location varies. axleart. com. We the Extranimals: an installation shar-

Museum of International Folk Art, 706 Camino Lejo. 505-476-1200. internationalfolkart.org.

Morris Miniature Circus: Return of the Little Big Top: built over the course of forty years by W.J. “Windy” Morris of Amarillo, TX, the Morris Miniature Circus is a 3/8”-scale circus modeled after a 1930s “railroad circus.” Through 2016.

National Hispanic Cultural Center, History and Literary Arts Building. 1701 4th St SW, ABQ. 505-724-4771. nhccnm.org

OPENINGS

Moving Forward, Looking Back: Journeys Across the Old Spanish Trail: an artistic and genealogical project combining photography, video and sound by artist and curator Janire Nájera.

National Hispanic Cultural Center Art Museum, 1701 4th St SW, ABQ. 505-7244771. nhccnm.org. El Retrato Nuevomexicano Ahora / New Mexican Portraiture Now: featuring the work of eleven local New Mexican artists.

Through June 12.

New Mexico History Museum, 113 Lincoln Ave. 505-476-5200. nmhistorymuseum.org.

Santa Fe Faces: Portraits by Alan Pearlman: ninety portraits created between 2009 and 2013 to document the diversity of the City Different at one moment in its long history. Through Sept 18.

New Concept Gallery, 610 Canyon Rd, 505795-7570. newconceptgallery.com. South of Santa Fe: featuring an eclectic selection of works by six artists from Central and Southern New Mexico. Through May 30.

New Mexico Museum of Art, 107 W Palace Ave, 505-476-5072. nmartmuseum.org. Assumed Identities: Photographs by Anne Noggle: New Mexico artist Anne Noggle (1922-2005) was a woman of multiple talents: pilot, curator, professor, and photographer. Self-Regard: Artist Self-Portraits from the Collection: selection of self-portraits. Both through Sept 11.

New Mexico School for the Arts, Lannan Foundation Gallery, 309 Read St. nmschoolforthearts.org. Unlucky: Senior Visual Arts Exhibition: thirteen senior students will be presenting their work at the Lannan Foundation Gallery. Through May 15.

Nisa Touchon Fine Art, 1925-C Rosina St. 505-303-3034. nisatouchon.com. Small is the New Big—Small Works by Big Names in the World of Collage Art: over twenty collage artists present small-scale works made from found materials. Through June 15.

Patina Gallery, 131 W Palace Ave. 505-9863432. patina-gallery.com. Bugs and Buses: Jack Parsons, renowned for photographs that made lowriders an art form, turns his camera on the car as Americana for an exhibition that reinterprets the Volkswagen. Through May 29.

Photo-eye Gallery, 541 S Guadalupe St. 505988-5159. photoeye.com. Gardening at Night: Photographs by Cig Harvey: the artist’s latest body of color photography, exploring notions of time, family, nature and home. Through June 4.

Santa Fe Clay, 545 Camino de la Familia. 505984-1122. santafeclay.com. Tom Sather: Praying Without Words: solo show of hand-formed clay vessels. 2016 Summer Workshop Preview: group show featuring master ceramic artists who will be leading the summer workshops. Through May 14.

Santa Fe Community Gallery, 201 W Marcy St. 505-955-6705. Banned: group show featuring eighteen artists from throughout New Mexico exploring censorship and the written word. Through May 12.

University of New Mexico Art Museum, 1 University of New Mexico, ABQ. 505-2774001. unmartmuseum.org. Lightning Speak: Solo and Collaborative Work of Raven Chacon: M AY

2016

Chacon works with sound and image to explore various ways in which visuality and aurality combine and diverge. Mata Ortíz 19952015: ceramic work from the village of Juan Mata Ortíz. Both through May 14. Remnants: Photographs from the Disfarmer Studio: portraits from the Arkansas studio of Mike Disfarmer.

Through June 16.

William Siegal Gallery, 540 S Guadalupe St. 505-820-3300. williamsiegal.com. Bodies of Water: new photographs by Peter Ogilvie, featuring human figures and sculptural volumes of water. Through May 24.

artists will open their studios and homes. Start tour at the Preview Gallery in the historic Old San Ysidro Church. Maps and catalogs will be available at tents on each end of the Village, on Corrales Road, and at Loma Larga and Meadowlark. Preview Gallery Fri, April 29, 1-5 pm. Tours Sat, April 30 and Sun, May 1, 10-5 pm.

Eldorado Studio Tour, Eldorado Community Center, 1 La Hacienda Dr, Eldorado. eldoradostudiotour.com. 25th Anniversary Studio Tour: featuring 94 artists showing in 59 studios. Preview Gallery at the Eldorado Community Center Fri, May 13, 5-7 pm. Tour Sat, May 14 and Sun, May 15, 9-5 pm.

St SW, ABQ. 505-246-2261. nhccnm.org. Hidden Chicano Cinema: Film Dramas in the Borderlands: talk, films, and author book signing with UNM professor A. Gabriel Meléndez. Sat, May 7, 2-4 pm.

Placitas Studio Tour, various locations, Village of Placitas. placitasstudiotour.com. 19th annual tour, 58 artistis at 48 sites. Visit website for maps and info. Sat, May 7 and Sun, May 8, 10-5 pm.

Santa Fe Plaza, Lowrider Day: meet the people who create these works of art. The day includes a car procession, displays around the plaza, a mayoral proclamation, hopper demonstrations, and awards. Sun, May 22, 10-5 pm.

SPECIAL INTEREST

516 Arts, 516 Central Ave SW, ABQ. 505-2421445. 516arts.org. Studio Sale: a fundraising event featuring Albuquerque-based, contemporary artists who, using the popular studio sale format, are selling selected works from their inventories at fantastic discounts and creating new work on the spot. May 14-21. Public opening Sat, May 14, 6-8 pm.

ARTScrawl Albuquerque, various locations, ABQ. artscrawlabq.org. Citywide first Friday arts tour. See listings and maps online to create your self-guided tour. Fri, May 6, 5-8 pm.

City of Dreamers, Lensic Performing Arts Center, 211 W San Francisco St. 505-988-1234. ticketsantafe.org. A youth-driven community project that uses film, live radio, dialog and music to showcase the voices and stories of the students, families, and residents of Santa Fe’s south side.

Sun, May 8, 7 pm.

Center for Contemporary Arts, 1050 Old Pecos Tr. 505-982-1338. ccasantafe.org. Farms, Films, Food: a celebration of Santa Fe’s unrivaled love of great food and cinema. Food trucks, free food samples, gallery tours, presentations from community partners, two free screenings. Wed, May 11, 5-8 pm.

Corrales Art and Studio Tour, various locations, Corrales. corralesartstudiotour.com. Village

El Rito Open Studios, various locations, El Rito.

505-927-8461. El Rito artists open their studios to visitors the first Saturday of every month. Sat, May 7, 10-5 pm.

Encaustic Art Institute, 632 Agua Fria St. 505989-3283. eainm.com. In May, the Encaustic Art Institute will be holding encaustic/wax classes on Saturdays, 10-2 pm. Beginning Encaustics taught

by EAI founder, Douglas Mehrens, Sat, May 7. Encaustic Monotype workshops taught by Jorge Luis Bernal, Sat, May 21 and Sat, May 28.

Garcia Street Books, 376 Garcia St. 505-9860151. Reading and book signing with Taos-based author John Biscello celebrating his new novel Raking the Dust. Sat, May 21, 2 pm.

Lannan Foundation, Lensic Performing Arts Center, 211 W San Francisco St, 505-9881234. lannan.org. Louise Gluck with Peter Streckfus: Readings & Conversations, Wed, May 11, 7pm.

Magdalena Open Studio and Gallery Tour, various locations, Village of Magdalena. 866-8543217. magdalena-nm.com. Over fourteen venues.

Opening reception at Warehouse 1-10 Contemporary Art Space Sat, May 7, 5-7 pm. Events at the Magdalena Hall Hotel: Chuck Hawley Band, Fri, May 6, 5-7 pm. Tuesdays at Two, Sat, May 7, 1-3 pm. Mother’s Day Brunch, Sun, May 8, 10-2 pm.

National Hispanic Cultural Center, 1701 4th

SpinDoc, 628 Old Las Vegas Hwy. 505-466-4181. spindoc.com. World Bicycle Relief fundraiser. All funds raised are sent to WBR, an organization that provides bicycles to people in underdeveloped nations, providing transportation for students to get to schools, physicians to get to patients, and for others who otherwise would have no means of transportation. Indoor cycling segment Sat, May 21, 8 am-12 pm. Santa Fe Century on Sun, May 22.

PERFORMING ARTS

Meow Wolf, 1352 Rufina Cr. 505-886-1251. ampconcerts.org. Chicano Batman: the quartet draws from a spectrum of influences ranging from psychedelia, soul, to Tropicalia. Tue, May 3, 8 pm.

Placitas Artists Series Concert, Las Placitas Presbyterian Church, 7 Paseo de San Antonio, Placitas. 505-867-8080. placitasartistsseries.org.

Willy Sucre & Friends: chamber music for strings and horns will feature works by Amy Beach, Gunther Schuller, and Ludwig van Beethoven.

Sun, May 15, 3-5 pm.

Radical Abacus, 1226d Calle de Comercio. radicalabacus.com. Drab Majesty, Los Angeles-based dream goth act, with Gauze Veil, an emergent local cold-wave industrial synth act.

Wed, May 11, 9 pm.

Santa Fe Playhouse, 142 E De Vargas St. 505-988-4262. santafeplayhouse.org. She Kills Monsters: by Qui Nyugen, directed by Malcolm Morgan. A woman discovers her late sister’s inner life through her Dungeons and Dragons notebook. Humorous and deeply moving. Various times, May 7 through May 22.

The Cooperage, 7220 Lomas Blvd NE, ABQ. 505-886-1251. ampconcerts.org. Matt Andersen & The Bona Fide: blues musician with a giant, soul-filled voice. Mon, May 9, 7:30 pm.

CALLS FOR ARTISTS

THE magazine. 505-424-7641. themagazineonline.com. Call for submissions for the photography page. The June theme is “the decisive moment.” Anyone may submit up to three photographs to be printed in the June issue. Selected photographer will receive a $50 gift card to a Santa Fe business.

Deadline May 15.

Left: Sally Chiu, Purple and Red, oil on canvas.

Layers in Time opens at Free Form Art Space Saturday, May 7, 4-6 pm. Through May 29.

Opposite: Luanne Redeye, Floral Frame, 2014.

Nonprofit organization 516 Arts (ABQ) presents fundraising event Studio Sale in the Gallery May 14-21.

THE magazine | 31

PREVIEWS

Mabel Dodge Luhan & Company: American Moderns and the West May 22 – September 11 Harwood Museum of Art 238 Ledoux Street, Taos Public Opening: Saturday, May 21, 10 – 5 pm Mabel Dodge Luhan & Company: American Moderns and the West, a traveling exhibition organized by the Harwood Museum of Art of the University of New Mexico, will open in Taos on May 22. Curated by independent curator and critic MaLin Wilson-Powell and Dr. Lois Rudnick, preeminent scholar on Mabel Dodge Luhan (18791962), the exhibition will examine the life and times of Luhan, an influential cultural figure who was responsible for bringing creatives from America and Europe to Taos. The exhibition will highlight the confluence of European-American writers, artists, and activists and Pueblo and Hispano artists in northern New Mexico that contributed to founding a cultural and social avant-garde in the American Southwest. Over 150 works of art, historical photographs, and publications will be included, making this the most comprehensive exhibition ever organized on this significant cultural figure.

Mabel Dodge wearing turban while in yoga pose, c. 1915.

Mabel Dodge Luhan Papers, Beinecke Rare Book and Manuscript Library, Yale University.

Photos courtesy AwakeningInTaos.com

Made in the Desert May 27 – August 22 form & concept 435 South Guadalupe Street Opening Reception: Friday, May 27, 5 – 7 pm New gallery form & concept will hold its grand opening on May 27 with the inaugural exhibition Made in the Desert. The gallery, which occupies the former Zane Bennett Contemporary Art space in the Railyard Arts District, will feature contemporary works that intersect fine arts, craft, and design. Made in the Desert is a group show including craft artists based in New Mexico and Arizona, working across a variety of media, from ceramics to neon and textile. Artists include Janet Abrams, Julia Barello, Susan Beiner, Melissa Cody, Brian Fleetwood, Jaque Fragua, Maria Hwang-Levy, Laila Ionescu, Courtney Leonard, Arthur Lopez, Cannupa Luger, and Vanessa Michel. The gallery will also introduce a new retail space that will feature jewelry, ceramics, prints, and design objects from local and national artists.

Melissa Cody, Navajo Transcendent, 2016, 3-ply Germantown wool & analine dyes, 21.5 x 19 in.

N AT I O N A L S P O T L I G H T

Ordinary Pictures

February 27 – October 9, 2016 Walker Art Center 1750 Hennepin Ave, Minneapolis, MN walkerart.org

Above: Louise Lawler, Portrait, 1982 silver-dye bleach print 19.6 x 19.6 in.

Private collection Courtesy the artist and Metro Pictures, New York

Right: Sturtevant, Beuys la rivoluzione siamo noi, 1988 screen print on paper 37.5 x 20 in.

Collection Walker Art Center, Minneapolis, T. B. Walker Acquisition Fund, 2011 Photo: Arpad Dobriban

M AY

2016

Contemporary culture is flooded with images, from advertisements to social media, corporate missives to product design. Stock photographs—immediately recognizable, yet generic, anonymous—are so prevalent that, while they frequently go unnoticed, their production and use has become an industry. Group exhibition Ordinary Pictures at the Walker Art Center in Minneapolis examines this phenomenon by bringing together artists’ works that probe, appropriate, reframe, or otherwise engage with this economy of image-as-commodity. The exhibition also considers the implications of the contemporary art world’s production of images: the reproduction of photographs of artworks and installations for books, publications, websites, and more.

“The stock image is instantly familiar and circulates invisibly in our lives,” said Eric Crosby, the exhibition curator. “Yet a global industry sustains it by perpetuating the demands of advertisers and consumers alike. I’m interested in how artists can prompt us to look differently at the seemingly banal products of industrial image culture.” The exhibition presents work created since the 1960s across a variety of media, including photography, painting, sculpture, installation, sound, prints, and multiples.

THE magazine | 33

THE

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1601 Paseo de Peralta Santa Fe, NM 87501 (505) 984 1387 taimodern.com

June 3 – July 2 Lance Letscher: Secret File Artist Reception: Friday, June 3, 5-7 pm Artist Talk: Saturday, June 4, 3-5 pm

July 8 – July 24 Nagakura Kenichi Artist Reception: Friday, July 8, 5-7 pm

July 29 – August 21 Kawano Shoko Artist Reception: Friday, July 29, 5–7 pm Artist Demo: Saturday, July 30, 2:30–3:30 pm

August 26 – September 25 Jason Salavon: All The Ways Artist Reception: Friday, August 26, 5–7 pm Artist Talk: Saturday, August 27, 3–5 pm

INTERVIEW

S c h e in b a u m PHOTOGRAPHY

DEALERS

SCHEINBAUM

& &

Russek

R U S S E K — D AV I D

SCHEINBAUM,

J A N E T R U S S E K A N D , N O W, T H E I R D A U G H T E R A N D R A R U S S E K — have been fixtures of the Santa Fe photographic arts community since 1980, when they first started their gallery out of their living room. Due to close professional and personal relationships with two pivotal figures within the history of photography, Beaumont Newhall (1908-1993), considered the father of the history of photography, and Eliot Porter (1901-1990), considered the father of color photography, and their work in the community over the last thirty-six years, the dealers have themselves become fixtures within the legacy of Southwestern photography.

Photographers themselves, they have intimate technical knowledge and nuanced understanding of the medium, as well as an abundance of historical information, insights, and personal anecdotes that can only be born of life spent deeply invested in the art of photography.

Members of the Association of International Photography Art

M AY

2016

Dealers (AIPAD), they recently exhibited at the organization’s The Photography Show at the Park Avenue Armory in New York. THE magazine conducted a series of interviews with the dealers, in which we received glimpses into the legacy of photography in New Mexico, the history of the gallery, and an introduction to the subtleties of photography collecting.

THE magazine | 37

Opposite: Eliot Porter (1901-1990) Above: David and Janet, 1979. photo: Steve Lustdbader

Woodhouse’s Jay (Pinyon Jay, Tesuque, New Mexico), 1961

Right: Scheinbaum & Russek Ltd, Santa Fe, NM, 2016. photo: Clayton Porter

Courtesy of Scheinbaum & Russek Ltd, Santa Fe, NM.

vintage dye-transfer print Copyright 1990, Amon Carter Museum, Fort Worth, TX. Bequest of Eliot Porter.

THE: Let’s start at the beginning, how did you end up in Santa Fe? David Scheinbaum: In 1976, I was looking to leave New York. I was teaching college; I was a photographer. Two things happened: One was that I took a trip around the U.S. for a few months, looking to see where I might want to live.

Then that same year I went to a lecture at the Metropolitan Museum of Art given by the man who was kind of my idol, Beaumont Newhall. I admired him from his work as the founding director of the photography department at the Museum of Modern Art and his writing. Beaumont has long been considered the father of the history of photography; his book, The History of Photography [1937], is still the definitive history. He lived in Albuquerque at that time. He taught at UNM. So in 1978, I decided I was going to move to Santa Fe. My dream was to work with Beaumont. And whether that happened or not, it was still a place I wanted to be.

THE: How did the two of you meet?

Janet Russek: We met in Brooklyn in 1978, though we had known each other previously through mutual friends.

DS: When we re-met and started dating, I was already in the process of moving to Santa Fe. We were kind of falling in love, I guess you could say.

We continued a long distance relationship for two years. We wrote to each other. That was when people actually wrote letters. Phone calls were too expensive. We would talk on the phone on Sundays, when long distance calls were half price. I couldn’t afford to fly back and forth. I had no money when I moved here. In 1980, Janet moved out here with [her two children] Jonathan and Andra.

JR: I had decided to go study art again. When I wanted to study photography, I studied with David, who was teaching out of his studio. Actually, my friend Sabina had this one photograph in her house that I thought was astounding.

I had always thought David was kind of… a jerk. But I saw this photograph that he had taken, and I thought, well maybe there is something redeeming here, because I love this photograph!

DS: The power of art.

JR: So I became one of his students. I also really wanted to do paper conservation, so David hooked me up with the preparator at the Brooklyn Museum, who took me on and mentored me in the prints and paper department, which was amazing.

THE: Now you are private dealers, but your current business grew out of your gallery. How did the gallery initially come to be?

JR: My experience at the Brooklyn Museum came into play when we moved here. There was a void here. The museum had closed for construction.

The only thing available in town was the Santa Fe Center for Photography, which existed from 1977 to the late ‘80s and was a great resource. Nicholas Potter, who still has a bookstore in town, would show photography once in a while, but that was it. So David said we should open a gallery. I thought, that’s insane—I had never thought of doing something like that—but okay, and I’ll do paper conservation, and that’s how we’ll support ourselves. I later became Eliot Porter’s assistant. I started cataloging his prints. That took almost three years. There were 7,000 prints.

INTERVIEW

... if I was a painter I’d want to go to Rome to see the Sistine Chapel.

So our Sistine Chapel is Ranchos de Taos church.

DS: This was before computers.

JR: All pencil, paper, and typewriter. From doing that, I discovered different bodies of his work. After I did all the cataloging, we started working on book projects together. I basically helped him curate all of his exhibitions and books.

DS: One of the things I was doing for Beaumont was printing his work, so when he got a call from someone who wanted to see his work, he would tell them, “Oh, go call David; all my work is down at his place.” We had people coming over, knocking on the door, and asking to look at his pictures. Janet was matting. We had a bedroom where it was just a mat cutter and frame table. I was in the dark room. So that’s when we said, okay, let’s have a business. The living room was the gallery. And we lived in that house with two kids. We finally moved out of the house and turned it into a business in 1980—that’s really when Scheinbaum & Russek started.

JR: Our mission statement from the very beginning was education. From our humble beginnings, the community embraced us completely. Anyone we asked to show with us said yes. We were in the red for the first five years. We didn’t make any money, but we supported ourselves through my work with Eliot, David’s work with Beaumont, his work at the college, and I was matting and framing. We didn’t break through until 1985. For most of those first years, people would come in and say, “Why should I pay $250 for a photograph when I could do this myself?” That was the biggest comment, and that’s when we realized it was all about education.

We had an Edward Weston show and sold one print to the museum.

We had a Diane Arbus show and sold… two prints. Most of these shows M AY

2016

were incredible; you wouldn’t believe the things we had. It had to be about education, because there were so many misconceptions about photography.

DS: Only photographers really knew its value. We were kind of tasked with educating the art community here. That included my efforts at the college and any talks or lectures I would give. Our gallery in many ways became a meeting place, for photographers and people who were interested.

THE: There is a legacy of photography in New Mexico and the Southwest, and a lot of significant artists have lived here.

DS: One by one, it seemed, we found out about other photographers living here: Walter Chapell, Laura Gilpin, Eliot Porter, Paul Caponigro, Beaumont Newhall, Van Deren Coke, on and on. This was the place, for different reasons. There was a time that, of all the most well-known photographers in the U.S., a good number of them lived in Santa Fe, or came through, or had worked here, or were moving here.

Everyone wants you to say these photographers were here because of “the light.” But a lot of the great pioneering photographers in the 19th century who went out on expeditions—Timothy O’Sullivan, William Henry Jackson— were photographing this area. For anyone who was studying photography, anywhere in the world, the pictures we were studying depicted the New Mexico territory or Arizona. You grow up seeing pictures of these incredible places; it’s natural that as a photographer you’d want to go pilgrimage there, the same way if I was a painter I’d want to go to Rome to see the Sistine Chapel. So our Sistine Chapel is Ranchos de Taos church. And, most of us who lived out here then, and live here now, came to get away from something. We came to do our work.

THE magazine | 39

Opposite: Eliot Porter (1901-1990) Above: Scheinbaum & Russek Ltd, The Photography Show presented by AIPAD, New York, NY, 2016. photo: Clayton Porter

Redbud Tree in Bottomland Near Red River Gorge, Kentucky, 1968

Right: David Scheinbaum leading a New Collectors tour, The Photography Show presented by AIPAD, New York, NY, 2016. photo: Clayton Porter

Courtesy of Scheinbaum & Russek Ltd, Santa Fe, NM. Copyright 1990, Amon Carter Museum, Fort Worth, TX. Bequest of Eliot Porter.

JR: Ansel Adams was very comfortable in public and a spokesperson for photography, whereas Beaumont, Eliot, Laura, and Paul, they were all sort of reclusive people. Do they have the same stature in the art world? No. Because a lot of times it’s about “being out there.” And most people who come to Santa Fe come to not be out there. So it’s kind of interesting: you can live in New York or Paris, you can be out there. Or you can come here for this life.

setting the standard for print quality, labeling, and originals vs. reproductions.

There were a lot of issues regarding provenance, originality, posthumous prints, standardized vocabulary, etc. AIPAD is the professional organization for photo dealers.

THE: Scheinbaum & Russek have exclusive representation of the estates of Beaumont Newhall and Eliot Porter. What does that mean in the photography world?

DS: We are the main dealers for that work. It means that we have any works that are available from the estates. And we attract that work. If another dealer comes up with a piece, one way or another we are spoken to about it.

We are the ones who can authenticate it, give the history of it, verify when it was made and who printed it. In terms of provenance, I guess, and I don’t say this ego-wise, we are the experts. Most dealers working today have similar stories but are experts in other photographers.

THE: You have been members of AIPAD since the years of its inception. In addition to The Photography Show, what is the importance of the organization?

DS: Harry Lund, one of the early great dealers of photography, and one of the founders of AIPAD, came to visit Beaumont, and he gave us a lecture on the importance of colleagues. He said if we were going to do this, we had to be a part of the rest of the world—we couldn’t be independent. AIPAD was

dye-transfer print

JR: AIPAD’s original mission was all about education, too. It was about bringing photography into the art world. We kind of grew together with the same mission statement. The AIPAD show is a place you can see the history of photography in one room, from 19th century to contemporary.

DS: In the last ten years, AIPAD has been more inclusive of the entire photo world. After this year, the show is going to move to the piers. I expect it’s going to get bigger, and there will be a lot more variety. I think the definition of “photograph” is going to have to be redefined. That definition is ever expanding, and I think that’s going to be reflected in what is shown there.

THE: The broad price ranges within the photography market make it an excellent entry point for new collectors. However, its technical specifications require that collectors do their homework. How do you introduce potential collectors to photography?

DS: There are many things that affect the value of a photograph. It’s not only the aesthetic of the piece you are looking at. Anyone who knows photography knows that no two prints are exactly the same, so we might say that every print is really an original, and prints will have different values over time.

One of the biggest mysteries within the photo world is that there is a premium attached to a vintage print. A vintage print is loosely defined as a

INTERVIEW

print made on or about the same time the negative was made. With an Ansel Adams picture taken in 1947, if the print was made in 1947, or even 1950, it’s considered a vintage print. If it was made in 1970, it’s called a modern print. That vintage print, regardless of what it looks like or its condition, is going to have a higher price. There is a feeling by a lot of collectors that the vintage print has more of the artist’s emotional feeling in it, and this is not felt to be true of the mechanical process of its reproduction years later.

Sometimes vintage prints are so much more beautiful than anything that could be made today. The material is different; paper used to have more silver, so there was a lot more tonality. It might be a specific process from the time or period. It might be glorious. Sometimes, a vintage print is an old damaged picture: it’s creased, it’s all muddy, and the modern print is better.

I always recommend to people, use your eyes. Is it more beautiful? Is it worth more? But it is still a reality of the collecting world. Also, in some artists’ work, there are prints made by different people: the artists, their assistants, or printers. You may not be able to tell by looking at it. So the provenance—when things were done, who made them, what the material is—these are all things that you may or may not see with your eyes, but they’ll add zeros to the price of things.

I’ve also been in galleries where people are selling things that may or may not last for 20 years before they fade. There is so much to know and to consider when one is buying a work of art. A lot of that is the responsibility of the gallery or dealer, because their job is to give you all of the information and to discuss everything they know. But a large part of it is also consumer awareness: it’s the responsibility of the buyer to do their homework.

M AY

2016

THE: What is coming up for Scheinbaum and Russek in the next year?

DS: We are doing something really exciting this summer. We get many requests to use images taken by Beaumont and his first wife, Nancy Newhall, during the two summers they taught at Black Mountain College. They were there the years [between 1946 and 1948] with Buckminster Fuller, Merce Cunningham, Robert Motherwell, John Cage, Jacob Lawrence, the Alberses.

Beaumont and Nancy were close with and photographed all of these artists, and we have all this work. We loan it out all over the world. This summer, we are finally going to exhibit a Black Mountain College show here in Santa Fe. We have work by four or five other artists who were also there. A lot of great minds of the 20th century were connected to Black Mountain College in some way.

We are also going to do a show called Conflict of Interest. We are photographers ourselves, as well as dealers, and it is complicated to wear both hats. We never mix our own work with our business. Once before, we had a Conflict of Interest, in which we exhibited our own work and the work of two people who worked for us. This year, because it’s going to be our 36th anniversary, we’re going to do another.

Black Mountain College: An Experiment in Liberal ARTS July 1 – September 3 Conflict of Interest September 16 – October 22 photographydealers.com

THE magazine | 41

Eva Hesse: Material Girl

By Diane Armitage

She did talk a great deal about eccentricity and absurdity. Her life had been absurd, her life at present was absurd and she wanted to get that into the work. She put materials together that nobody else did. To take those net bags that everybody went shopping with and stuff them with plastic and say, “That’s a done piece.” How cool is that?

—Ethelyn Honig, friend and former studio mate of Eva Hesse It wasn’t so much that Eva Hesse (1936-1970) was fond of using the word “absurd” in describing herself or her personal history; it was that she felt compelled to use that word. Summing up her life this way seemed to be the most immediate and succinct mirror for Hesse to hold up to herself and say: This is who I am, where I’ve come from, what has befallen me. And she would often sandwich “absurd” between the words traumatic and eccentric.

Based on this chronic assessment of herself, it’s a marvel that Hesse would wind up to become the extraordinary artist that she did, helping to reinvent sculpture and its expressive possibilities in such prolific and provocative ways. The counterpoint to Hesse’s insecurity was a strange fearlessness and razor-sharp ability to judge for herself the power of her work—she always seemed to know how good her art really was.

F E AT U R E

The new documentary, Eve Hesse (2016)—a film by Marcie Begleiter opening at the Center for Contemporary Arts in May—is a pointillist landscape filled with memories and unforgettable artwork, and the images and ideas flow together effortlessly. The artist’s short life is depicted as spiraling outward and inward in alternating rhythms of beauty and a search for its own shadow.

There is the story of her rapid rise to fame in the 1960s New York art world, tempered by a lesser-known narrative: the pull of Hesse’s personal history, the weight of the Holocaust, and its impact upon her. The Holocaust was a catastrophe that she and her immediate family survived—but just barely.

At the age of three, she and her older sister Helen would be ferried out of Germany in 1939 on a Jewish Kindertransport to Amsterdam and be met and cared for by strangers. Hesse’s mother and father would, by the thinnest of margins, also make their escape and be able to reclaim their two daughters and eventually leave for New York. This gust of salvation was punctuated a few years later by the suicide of her mother when Hesse was only ten. In this brief narrative about the artist’s early life lie the roots of her identification with trauma and absurdity.

Hesse was an exceptionally attractive woman but one who was riddled with doubts. That said, after receiving a BFA from Yale at the age of twentythree, she would quickly begin to find a place for herself in the exquisitely unruly and dynamic free-for-all that constituted the art world of New York in the 1960s. There were individuals like Richard Serra, Robert Mangold, Sylvia Plimack Mangold, Robert Smithson, and Nancy Holt who would become her friends, along with the force majeure of contemporary art scholarship, Lucy Lippard. And there was one more ghost in the machinery of downtown New York relationships, Sol LeWitt, who presided over Hesse’s chronic uncertainty and her expressionistic pirouettes as she moved from an emphasis on painting to the making of idiosyncratic sculpture.

This carefully considered documentary, with its archive of historical material, is, in part, a portrait of Hesse’s friendship with LeWitt. And although Hesse looked upon him as she would a favorite brother, LeWitt viewed Hesse as the unrequited love of his life. However, LeWitt was more than a devout cheerleader for Hesse’s fragmentary self-confidence. He was her single best art world sounding board against which to measure not only her doubts about what she was doing but also the innovative grit and daring with which she tackled her methods and materials for the making of her work. Hesse had originally pursued painting, and the series of startling and accomplished halffigurative and half-abstract paintings that she completed after Yale, in 1960, would have been enough to secure her an early reputation for artistic brilliance and gutsiness. Yet, she would leave her ambitions as a painter behind after she moved to Germany with her husband, the sculptor Tom Doyle, in 1964.

Doyle had received a residency to work in Kettwig, and it was here that Hesse began to experiment with non-traditional materials and turn increasingly to the fabrication of a series of erotically tinged relief work—equal parts painting, drawing, and sculpture. But as wonderful an opportunity as it was for Hesse to experiment and play with the detritus of industrial remnants found in her studio in Kettwig, this period of her life would also prove to be the beginning of the end of her marriage to the hard-drinking Doyle. Her failing marriage alone was of concern to her, but an even greater weight fell on her psyche, and it was the larger context of Germany itself, the site of her original trauma.

Someone in the movie said about Hesse after she came back from the residency, “How much she had grown—she came back a funny kind of surrealist.” Hesse returned to New York having deepened her artistic reach, M AY

2016

but it was also a difficult period for her. There was her failed marriage, coupled with the death of her father, which further devastated her. Not that she stopped working, however. It was at this time that Lippard would include her in the seminal exhibition, Eccentric Abstraction, a title that was more than apt for the art that Hesse was making. This important show “set the standard for what would later be regarded as postminimalism, process, or antiform art.”

The last four years of Hesse’s life were defined by cycles of intense experimentation with industrial materials: silicone, silastic, fiberglass, polymers, latex, reinforced plastics, wire, and rope. And the wholly unique pieces she produced were invested with mystery and a curious layering of emotional forces, ironically emanating, for example, from a skin of latex over a grid of hardware-store washers. She was one of the artists who pushed against the limits of pure minimalism, allowing sculpture to be informed by a new sensuousness.

Hesse was diagnosed in 1969 with a brain tumor that, although successfully operated on the first time, would return and claim her life at the age of thirty-four. But even through surgery, recovery, and more surgery, the artist kept on working, no less beautiful in her wig than she had been with her luxuriant, long black hair. Her final piece, 7 Poles, was a series of long thin fiberglass tubes that hung from the ceiling, but each one seemed to stand on its own on a single foot. They were like a strange and haunting group of humanoids that glowed with an uncanny light. All of Hesse’s later works, being abstract, have no clear, unambiguous path to the roots of their meaning; one can only subjectively infer what they might signify. There is, for instance, the oddness of the translucent poles themselves and the subtle suggestion that these forms represent humanity at its most lost and poignant, depending on the nearness and empathy of others of its kind for a shared identity and sense of salvation.

Even now, almost fifty years after her death, Hesse’s work is as influential and compelling as it’s ever been, still widely exhibited, studied, written about, and emulated. At the end of the documentary, Nicholas Serota, the Director of the Tate museums and galleries in London, said, “She’s a part of history now, but her work hasn’t fully been digested yet.”

Above: Eva Hesse, ca. 1960, video still, Eva Hesse, 2016 Opposite: Eva Hesse, ca. 1964, video still, Eva Hesse, 2016

THE magazine | 43

Maps available at all studios

19th Annual Tour

Mother’s Day Weekend May 7 and 8 10 am to 5 pm

21. MICHAEL PROKOS

41. ROTHBERG/MIKOSZ

46. L. HEATH

18. FEHRUNISSA WILLETT

9. KARUNA KARAM

33. ANDI CALLAHAN

25. JAMES GAY

19. KENNETH ERICKSON

15. JUDITH RODERICK

20. MARCIA RACKSTRAW

43. BUNNY BOWEN

13. STEPHEN FEHER

32. DIANNA SHOMAKER

w w w. p l a c i t a s s t u d i o t o u r. c o m DIRECTIONS: Take I-25 to Placitas exit 242 and follow the signs. 505-771-1006 Sponsored by Placitas MountainCraft & Soiree Society

1 Joan Fenicle 2 Dana Patterson Roth 3 Lisa Chernoff 4 Nancy & Jon Couch 5 Lois Manno 6 Katherine Irish 7 Linda Nisenbaum 7 Karen Melody Shatar 8 Denise Elvrum 9 Karuna Karam 10 Geri Verble 11 CLR2 12 Catherine Alleva 12 Meg Leonard 12 Jim Fish 13 Gayle Elaine Scott 13 Stephen Feher 14 Katherine Christie Wilson 15 Judith Roderick 16 Peaches Malmaud 16 Karl & Mary Hofmann 17 Cathie Mayr 18 Fehrunissa Willett 19 Kenneth Erickson 20 Marcia Rackstraw 21 Michael Prokos 22 Daniel North 23 Lois Wagner 24 Raymond Ortiz 25 James Gay 26 Gayle Reinhart 26 Pam Neas 27 Tucker Woods 28 Mary Lou Skelton 28 Susan McWilliam 29 (withdrawn) 30 Myra Gadson 31 Barbara Burzillo 32 Dianna Shomaker 33 Andi Callahan 34 Sandra Johnson 35 Adrienne Kleiman 36 Shirley Ann Sloop 37 Jim Carnevale 38 Aquila Stanley 38 Robert Patrick Stanley 39 Roger Preston 40 Betty Temple 41 Riha Rothberg 41 Wayne Mikosz 42 Jim Holley 42 Lynne Fusco 43 Dorothy Bunny Bowen 44 Ellen Baker 45 Jo Anne Fredrikson 46 L. Heath 47 Harriet Neal 48 Michael Stoy 49 Erica Wendel-Oglesby

CRITICAL REFLECTION

Kevin Bubriski: Look into My Eyes: Nuevomexicanos

Verve Gallery of Photography 219 East Marcy Street

In the early 1980s a photographer seldom looked at Nuevomexicanos, a group that was, and continues to be, marginalized. Kevin’s gaze is direct and reverent. The images reveal an artist who is open to the magnetism and energy of La Raza.

—Miguel Gandert, from the forward to Kevin Bubriski’s book Look into My Eyes: Nuevomexicanos por Vida

ALTHOUGH T HE WO R K I N KEV I N B U B R I SK I ’S REC EN T EX H I B I T I ON Look into My Eyes: Nuevomexicanos was done three and a half decades ago,

framed by stylized hairdos and punctuated by radiant smiles or dark thoughtful

everything about these photographs feels immediate and also timeless. The image

eyes. Looking at these portraits, I found myself studying in particular male faces

of a man, with his bare back to the viewer, is seen walking on Nambe Road,

that have a touch of the feminine about them, a certain delicate quality that belies

carrying a large handmade wooden cross on the way to Chimayo at Eastertime. A

a surrounding macho ambience. I especially admired the image of a teenager

stark landscape on either side of the road gives no clue as to when this image was

photographed at the New Mexico State Fair in 1982. Maybe the young man was

captured. The solitary man on his pilgrimage is alone with a huge expanse of sky

all of fifteen at that time and, thirty-four years later, life would have taken its

above him, the road below, and the sculpture of a crucified Christ leaning on his

inevitable toll. Now he would be a man almost fifty years old, and I wonder if he

shoulder. The photograph looks like it could have been taken anytime in the last

would cringe to read about the non-gendered beauty I found in his face.

Looking at Bubriski’s work, one experiences an intangible sense of

one hundred years.

This striking image is the last one to appear in Bubriski’s new book on

continuity and the weight of traditions that are much the same today as they

which this exhibition is based, and one of the first photographs in it, Truchas,

were before the new millennium began. The individuals and the land that

NM, is equally as iconic and powerful. The two make a riveting pair and act

Bubriski photographed still form a picturesque arena that is full of contrasts.

as a container for the Hispanic community as a whole, symbolizing two of its

These people are both very real and also ciphers of a culture that, while intact,

strong underlying concerns: religion and car culture—customized automobiles

struggles like everyone else not to be shredded to pieces under the wheels of

being a source of pride, an extension of ego, and an artform that Hispanic culture

contemporary technologies traveling at the speed of light—the same speed at

established. However, Truchas, NM goes beyond the notion of a preoccupation

which these photographs were taken.

with lowriders. This car is no longer in service to anything or anyone except

—D iane A rmitage

as a signifier of New Mexico: an abandoned car in the landscape, left to decay, but with two crosses in front of it and the tall telephone pole, which could be

Left: Kevin Bubriski, Truchas, NM, 1982, archival pigment print, 19.75 x 13.25 in.

viewed as a gigantic cross driven, like a stake, into the heart of the car. This alien

Right: Kevin Bubriski, New Mexico State Fair, Albuquerque, NM, 1982, gelatin silver print, 19.75 x 13.25 in.

landscape, devoid of humans or even a single house, is a closed loop of social and cultural information that is nothing if not melancholic.

Originally

from

New

England,

Bubriski came to New Mexico to study film in Santa Fe at the Anthropology Film Center. But the artist quickly integrated himself into the life and events of this region as a still photographer, writing in the introduction of his book, “As I had found in Chimayó, interesting subject matter was all around me in New Mexico.” Bubriski wasn’t the first artist to be seduced by the landscape, the light, and the traditions of our vivid multicultural society. The artist clearly spent a great deal of time in Albuquerque, in addition to northern New Mexico, witnessing the art of hanging out, dancing at fiestas, attending weddings, visiting the State Fair.

Bubriski appears to have been drawn to the sculptural quality of faces, often

M AY

2016

THE magazine | 45

CRITICAL REFLECTION

Bonjour, là, Bonjour by Michel Tremblay Adobe R ose Theatre 1213 Parkway Drive

THE NAME OF SANTA FE’S NEW PROFESSIONAL THEATRE COMPANY (and the theatre they call home), Adobe Rose,

Bonjour, là, Bonjour, directed by Wendy Chapin. The

theatre here, and I believe that actors should be

juxtaposes two contrasting images: the fragrant

play opens May 12 and runs through May 29 , and

paid. There was a very committed core group of

blood-red rose of Shakespeare’s Romeo and Juliet

like the Rose itself is the story of a homecoming.

actors here.” She also pointed out that they also

and the mud and straw mixture of pueblo origin

Tremblay’s play sucks the audience into a whirlwind

hire non-equity actors at the Adobe. Additionally,

and Spanish architectural flourish revered in New

of family angst. In the play, Serge, the beloved son,

she intends to “create a path” to equity for NMSA

Mexico. Similarly, Adobe Rose attempts to combine

returns from three months in Paris, and the family

and SFUAD students, because “it gives them a

two unlikely things: professional theatre and Santa

project their anxieties, expectations, and ambitions

real leg-up,” but she concedes that it will be at

Fe. It has been several years since a fully professional

onto him and his journey.

least five years before this will be a reality. Adobe

th

th

company set down roots here, and Santa Fe has

Meanwhile, the Adobe Rose itself is the return

Rose also rents its 145-seat black box theatre for

always had a reputation as a difficult place to do

of professional equity theatre to the Santa Fe

community performances and events. McKenna

professional theatre. Adobe Rose is focused on

theatre scene. “Professional theatre is a necessary

felt small performance spaces were lacking in Santa

creating a space where professional actors can work

part of the cultural fabric here,” said McKenna.

Fe and thought the addition of another black box

in Santa Fe and produce high quality professional

She has lived in Santa Fe for more than a decade,

theatre would benefit the community immensely.

work for the community.

with her husband Bruce McKenna—who is also a

“It’s a matter of providing space for our own shows,

“I think that theatre is a safe place to experience,

director—and their children, but has had a difficult

providing space for community organizations and

and it teaches you to walk in someone else’s shoes:

time finding a place in the Santa Fe performance

shows. It’s something that Santa Fe needs.” For

you learn empathy [and] you learn to be more tolerant

scene. As a member of Actor’s Equity Association,

McKenna, theatre connects the community to a

and more accepting. We’re all Blanche and we’re all

a professional union, McKenna has had nowhere

greater human experience.

Hamlet,” said Maureen Joyce McKenna, founder and

to perform in Santa Fe, along with a number of

Adobe Rose’s first season has included a variety

artistic director of the Adobe Rose.

other professionally trained local actors. Union

of contemporary plays that are focused on family

The Adobe Rose opened its doors in January

rules prohibit actors from performing in non-equity

relationships and group dynamics. Bonjour, là, Bonjour

2016 with Luna Gail, performed in their new state-

performances except in rare circumstances. For

continues this trend with a blended musicology of

of-the-art performance space off Siler Road, and are

McKenna this created a serious dilemma: move

scenes that illustrate the difficulty of navigating the

now in the middle of their ambitious first season,

away from Santa Fe, or develop a professional

expectations of friends and family. The play itself is

which includes five plays. Next in the line-up is French

theatre here. For her, the decision was simple. “The

forty years old and is especially concerned with what

Canadian Michel Tremblay’s 1974 family drama

kids consider this home, and there is no professional

it means to be Québécois, but the issues feel deeply relevant and not at all dated. There are definite resonances with our post-colonial roots here in the Southwest, where many still feel connected to Spain, much as the characters in the play long for everything French. Adobe Rose is still finding its audience and refining their plays, but they are interested in expanding their selections. Hopefully, they will make an effort in their second season to present a greater diversity of offerings and some plays that address the specific geopolitical issues of New Mexico. For now, Adobe Rose is focused on the power of theatre to connect with and inspire the community. Bonjour, là, Bonjour runs Thursdays through Sundays May 12th through May 29th.

—J onah W inn -L enetsky

Bonjour, là, Bonjour, Adobe Rose Theatre, production view. photo: Melissa Chambers

CRITICAL REFLECTION

Under See: Subliminal & Sublime

City of Mud 1114A Hickox Street

ON CITY OF MUD’S WEBSITE, THE SIX-MONTH- OLD GALLERY PROMISES visitors a look at a “Santa Fe You’ve Never Seen,”

the Mind, was named years after its creation. The

but engaging and artful—and strangely make

and in many ways that’s an apt description. The

painting is awash in blue, which either saturates

sense amidst the curio-shop atmosphere of the

gallery is situated on Hickox Street in a more or

the canvas or runs vertically, dramatically, down

gallery space. Sasha Pyle, who’s also the gallery’s

less residential neighborhood: it’s several doors

the length of it. “I can’t exactly remember it at

curator, contributes several works from her

down from the artist-run Santa Fe Collective and

this moment . . . but I realize that I’d painted

Travel Photos series. Arranged in rows, the digital

directly across from the beloved Tune-Up Cafe.

something like a complete and lucid dream, which

prints on board are like glimpses of a long-sunken

Though City of Mud’s proximity to the Railyard

was something I was fond of doing when I was

submarine, capturing cross-sections of toothed

district makes it easy to find, this unassuming

also pursuing a meditation practice,” explains

wheels, bolted metal siding, and other mechanical

gallery feels decidedly off the beaten path. In

Ettenburg. “My work emulates the kind of free-

elements. In 2016’s Black Gears, the ridges of a

addition to hosting group exhibitions, City of

association made famous by de Kooning, Pollock,

moving mechanical part resemble the opened jaws

Mud offers a range of community-based events,

and others.”

of a fish emerging from some metallurgical coral

including artist demonstrations, open houses, and

City of Mud is both boutique and gallery, with

reef. Other artists work with the watery theme

vintage glassware and jewelry for sale alongside

more literally. Sculptor Brett Chomer’s Tortoise

Nineteen artists contribute to City of Mud’s

paintings and sculpture, lending a cozy yet

is a meticulously detailed bronze sculpture, with

second art exhibition, Under See. From Paul

uncluttered vibe to the space. Michelle Goodman’s

an exquisitely mottled texture and a gleaming,

Shapiro’s trippy, monochromatic Photonic Code

funky ceramic-and-wire sculptures are certainly

wet-looking patina applied to its shell. Equally

paintings, to Brett Chomer’s marvelously crafted

unusual. Hung on a gallery wall, their metal

impressive is Chomer’s Skates, a rippling sheet

marine animal sculptures, to Steina Vasulka’s

apertures are partially covered with cracked and

of metal overlaid with a large stingray and half-

video projection piece, Under See is an artistically

painted clay, reminiscent of coiled bits of rusted

dozen smaller ones trailing her. Bill Sortino’s oil

muscular

Frank

wire or crustacean-covered fishing nets, antique

paintings are unapologetically abstract, their

Ettenburg’s dreamily abstracted painting, Cities of

elements from a deep-sea dive. They’re weird

muted

music-based get-togethers.

presentation.

Interestingly,

backgrounds

overlaid

with

vibrantly

colored, energetically arranged applications of colors like tomato red and chartreuse. Using a similarly bold palette, Isabel Gibson’s colorful cut-paper assemblage In the Garden must have entailed enormous effort on the artist’s part, an exquisite underwater tableau that emphasizes Gibson’s technical ability.

An article titled “If You Don’t Understand Conceptual Art It’s Not Your Fault” from artsy. net’s Isaac Kaplan has received widespread praise and plenty of social media shares, and rightly so; contemporary visual art can alienate and fluster even the most seasoned art enthusiast. Visitors to City of Mud can leave any such anxiety behind, because Under See engages rather than alienates, with a friendly and approachable staff eager to answer the most rudimentary questions. Merging high craft with fine art, City of Mud succeeds in creating a very different kind of Santa Fe exhibition space, which is no easy task in our gallery-saturated town.

—Iris McLister

Sasha Pyle, Black Gears, 2016, digital photo collage on board, 18 x 24 x 2 in.

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2016

THE magazine | 47

CRITICAL REFLECTION

Seven: A Survey of Works by Matt Magee

Richard Levy Gallery 514 Central Avenue SW, Albuquerque

MATT MAGEE LIFTS FOUND GRAPHIC FORMS TO REPRODUCE IDIOSYNCRATIC oil paintings as a form of charting/journaling his life

of found formalism related to the artist’s visit to a

while in Magee’s work, the shocks and ironies collapse

experiences. One color, usually primary or secondary,

restaurant. Is this an homage to Leonardo’s Last Supper?

into a seemingly comfortable acceptance of the magical

is laid down with unvarying tone within the unchanging

Is Magee giving the viewer a role in constructing the

capture of capitalism.

hard edges of a silhouetted shape, or shapes, on a usually

work or just lunching on the job? The show is called

A flat snap and transfer from cell phone to canvas

white ground, a formula that renders the paintings

Seven because Magee saw a big lucky number seven on

is just that. The fact that Magee self identifies (journals)

especially flat. Meant to come off as refreshingly naïve,

a billboard, and he’s interested in numerology, so he

with what McCollum (via Baudrillard) familiarly calls

they veer too much towards the superficial. One

painted a seven. I know because I read it. Magee might

“simulacra” and pins it to equally defunct ideas of

of the problems with avant-gardism is that it often

be a better writer than a painter, actually. But con text

idiosyncratic authorship is weak conceptualism. He’s a

exhausts itself, rendering its earlier forms void for the

or sans, both experiences are essentially inauthentic.

semiotic hunter-gatherer who can’t see the forest for

next generation, as each so-called aesthetic advance is

Either any meaningful act of interpretation (beyond

the signs, mistakes maps for territories, and stumbles

assumed by the next phase.

basic formalism) is impossible, or, alternately, the texts

headlong into the great sea of simulacra. But don’t

Because the work doesn’t speak for itself,

voice-over any fun of discovery out of the pictures. It’s

blame Matt Magee, or the gallery, or the Abstract

narrative texts in which Magee explains the particular

like getting the two sides of an Oreo cookie, minus the

Opportunism movement, or the 99% art world

life experience, inspiration, and intention behind each

sweet, creamy center.

in general. We’re all just trying to stay afloat as elite

painting become a necessity. That’s how you get the

Allan McCollum is the only prominent artist who

members of the servant class, bobbing in the scammed-

back-story to his otherwise uninterpretable seating

comes to mind after the 1970s (who is not a graffiti

up waves of a rigged, war-fueled economy: an affluent

chart masterpiece, Sermon, an excellent example

artist) who uses logo-esque abstraction to good effect,

society that fails to distribute its wealth and resources

of Magee’s insouciant process in action. He’s at a

but that’s in relation to a coherent conceptual program

fairly and ethically ultimately evolves to stifle (squander)

restaurant, waiting to be seated. Behind the hostess

that hijacks the technique precisely to point out how

human creativity (our single greatest resource on the

stand he spies a seating chart. He snaps a shot with his

avant-garde can turn rapidly vapid. Supremacist and

planet) on a grand scale.

phone, has a great meal (?), and when he gets home

Minimalist abstraction are, in McCollum’s work, made

—Jon Carver

he transfers the circles and squares of the chart to

suspect as forms of go-to-market streamlining in order

his support. He colors the shapes yellow on a white

to expose a blue-chip art practice that favors empty

Left: Matt Magee, Phoneme 2, 2011, oil on panel, 20 x 16 in.

ground and, voilà, instant Mondrian! And the provided

(fungible) investment vehicles over significant artworks,

Right: Matt Magee, Sermon, 2015, oil on panel, 36 x 36 in.

texts, one for each picture, are how you know that his “symbols of sounds” are made by tracing the horizontal ovals in an architect’s template, flipping it over and tracing the mirror image, and then filling in the ovals like on a standardized test.

In a snap, these inspiration texts simply, suddenly, shut down the images—oh, it’s a seating chart, a kind

CRITICAL REFLECTION

Origination Point: Agnes Chavez with Marcel Schwittlick and Robert Schirmer Harwood Museum of Art 238 Ledoux Street, Taos

OUR WORLD, SHAPED BY SCIENCE, ENGINEERING, DESIGN, AND ART, would be a better place if these disciplines were more

Administration (NOAA) recordings of the sounds of ice

The visual piece is structured into three acts in

explicitly in dialogue. But with the increasing complexity

scraping the ocean floor. Two other speakers provide

which a variety of forms resembling rocks, water, cells,

of tools and knowledge, it’s difficult for anyone to master

ambient sound from files based on field recordings of

landscapes, etc., mutate before our eyes. While it has

more than one field, let alone the communication skills

nature sounds that have been electronically manipulated

temporal structure, it’s not a video; it’s a generative

to talk to practitioners in another area. Origination

and some deliberate sounds such as rocks being scraped

process, a program that is running, something being

Point—an installation at the Harwood Museum of

on remnants of the Berlin Wall. The sound in the space

executed in real time. Because it is being generated by

Art by Agnes Chavez in conjunction with her Berlin-

is always changing in unpredictable ways. Sounds and

code, the process conforms to some pre-set rules, yet is

based collaborators, sound engineer Robert Schirmer

visuals are not directly interacting with each other in

also designed to allow for results not entirely predictable

and artist-programmer Marcel Schwittlick—provides

the environment, though, of course, everything was

simply by knowing the rules. Another element of

an intriguing space where visitors may sensorially

designed by the team to work together.

the visuals is based on “static” elements, things that

experience concepts from physics. The environment

The visual element includes the spatial arrangement

were chosen and then operated upon. None of this is

of the rocks, plus a set of seven semi-transparent fabric

immediately (if ever) apparent except in small glimpses to

One element is sound. Audience members can

panels, over six feet tall, which are attached high on the

a very attentive and fairly informed viewer; nor would it

influence the sound from two speakers by removing

wall and angled outward to reach the floor a couple

really matter if the whole were not engaging, original, and

and replacing any of the three rocks sitting on the floor

of feet from the wall. Elegant imagery is projected

possessed of considerable aesthetic appeal. It is evident

at the center of the space. The rocks are monitored

onto the panels and the wall from which they hang.

that a lot of thoughtful planning went into this work.

by a sensor and their presence or absence, controlled

The imagery is generated by an application developed

For most of us, proof of the existence of the

by participants, triggers different sounds from a large

using OpenFrameworks, an open-source toolset for

Higgs boson and its implications are neither technically

data file drawn from field recordings and various other

making experimental media applications. This is one of

comprehensible nor conducive to drawing our speculative

sources, including NASA recordings of electromagnetic

the current ways that the meeting of technology and

awareness to physics. Chavez intends Origination Point

waves in space (shifted to a frequency range that humans

art is taking place, with digital tools being developed

to enact ideas about the post–Big Bang interaction of

can hear) and National Oceanic and Atmospheric

collaboratively and shared publicly.

particles with the Higgs field; she engages the viewer

consists of several elements.

with aesthetic phenomena that are analogically linked to the science of physics. For example, the spaces between the fabric panels reference how passing energy through two parallel slits startlingly proved that something can be both a wave and a particle.

Also available is a short video about Chavez’s work at the 12th Havana Biennial and her engagement with education and communication of science concepts to young people through their own hands-on art making. She developed the ideas for this piece while an artist-in-residence at the CERN research center in Switzerland, where scientists are paired with artists and there is support for the engineering necessary for production of work that expresses the insights gained by the interaction. Chavez’s family came to the US from Cuba and she grew up here. That displacement and her multicultural background play a role in her passion for connecting different realms.

—Marina La Palma Agnes Chavez, Origination Point, installation view, 2016, interactive and generative visual/sound projection. Harwood Museum of Art, Taos. photo: Joaquin Karcher

M AY

2016

THE magazine | 49

CRITICAL REFLECTION

Tom Miller: Set to Topple and Equivalent Architecture

James Kelly Contemporary 1611 Paseo de Peralta

“ARCHITECTURE IS HOW THE PERSON PLACES HERSELF IN THE SPACE,” SAID Zaha Hadid, the trailblazing architect who died last month of a heart attack at 65 years

Propped askew. Every piece hides an integral secret that could lead to its own downfall.

old. Hadid was the first woman, and Muslim, to win the Pritzker Prize. She was also a bril-

In the show’s press materials, Miller suggests that the black and white fields of his

liant painter, and her two disciplines bolstered each other. Hadid had the remarkable ability

sculptures refer to opposing concepts. The bare gray concrete exposes details and weak-

to bring the fragmented, gravity-defying structures depicted in her paintings into the phys-

nesses in structure, just as a middle ground can reveal the logical or moral fallacies of ex-

ical world. She carefully considered her viewers’ movements around and within a build-

treme ideologies. Even in our current moment of extraordinary political polarity, Miller’s

ing, sculpting spaces and orchestrating forced perspectives that brought the transcendent

color coding is a bit gauche. Better to let the duplicitous and self-destructive tendencies

experience of a bird’s eye view to the street level. For Hadid, walls could be as pliable as

of these works do the conceptual heavy lifting. This is a room full of booby traps, and

pigment—or ideas. Santa Fe artist Tom Miller shapes thought into architecture as well, albeit

their astutely designed flaws make for complex contemporary metaphors. For example,

with a starker set of building blocks.

Set to Topple’s obelisk could be a reference to the century-old obelisks that line the United

In Set to Topple and Equivalent Architecture, Miller’s first exhibition with James Kelly

States-Mexico border. They are sharp symbols for our nation’s enduring battles over border

Contemporary, the artist divides the space using tiered stacks of cement blocks and other

security and immigration. The debate over domestic privacy, the effects of modern technol-

architectural elements. Some of the sculptures look as though Miller surgically excised

ogy on communication, and recent geopolitical turmoil are all potential subjects of this body

them from buildings, while others read like scaled-down models of monumental fortifi-

of work.

cations. Set to Topple, the show’s largest work, comprises three separate walls of black

The exhibition’s floor sculptures push viewers toward the gallery walls, where a series

painted cinderblocks that unify into a dark barrier upon approach. On a wooden platform

of mixed-media works rounds out the show. Connected Corrugated Panels is a plywood,

before the walls, a small, inky obelisk stands like a guard tower. The work is only about

resin, paint, and graphite wall hanging that mimics steel. An untitled work on paper with a

waist-high at its tallest point, and entering its vicinity feels like a nervous encounter with a

creamy palette could be a simple group of lines—or a depiction of ghostly support beams

Carl Andre sculpture. Are we meant to step onto the platform, or vault the wall?

from a lateral perspective. The Block Wall series of acrylic paintings flattens black, white,

On the other side of the blockade, a forest of wooden beams braces against the

or gray stacks of bricks against matching backgrounds. These works are unyielding barriers:

bare gray backs of the loose blocks. This adjoining structure may serve as a support, but

we can’t step into the compositions to search for tricks. Even so, the experience of the

its very existence makes the wall seem newly precarious. At the show’s opening, the

sculptures makes it impossible not to dream up unseen perils hiding past the corners of their

narrow passage behind Set to Topple became a gauntlet for visitors in the vein of Robert

frames. This room full of stumbling blocks sends the imagination careening in stimulating

Morris’s more voluminous sculptures. As feet swung past the beams, the piece’s title start-

new directions.

ed to seem like a grim guarantee. The other low-lying sculptures scattered throughout

—Jordan Eddy

the space make even touchier obstacles. The swing of a purse might decapitate White Wall’s plywood crown, and even a soft misstep could knock the solitary support of Door

50 | THE magazine

Tom Miller, Set to Topple and Equivalent Architecture, installation view, 2016

M AY

2016

I L L U S T R AT I O N

Luke Dorman, Headache, 2016. See page 5

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call for submissions submit up to 3 images per issue to be featured on

THE photography page! june theme: THE DECISIVE MOMENT

see page 53

send submissions and questions to editor@themagsantafe.com by MAY 15 the selected photographer will receive a $50 gift certificate to a santa fe business

PHOTOGRAPHY

Robert Alexander Appalachian basketmaker Mary Helton’s back porch, southwest Virginia 1977 Alexander is a retired newspaper editor and veteran street photographer living in Santa Fe. www.robertalexanderimages.com submission theme: “cats”

M AY

2016

THE magazine | 53

WRITINGS

black rubber snake

by Edie Tsong

wiggly stretchy charcoal

fading white stripes

protruding little red forked tongue

body moves from circles to o’s

circles to o’s to curly q’s stretched to a straight line pulled like an elastic band

still, so still, head hanging over tongue dripping out twisted up tangled

sticky scales tacky soft rubber looking like a bathtub hair looking like a scrawl of crayon

falling flopping over discarded

two perfect eyes four white nubby teeth returns to its shape returns to its shape

flattened underneath a heavy book popping up back to shape

after being balled up in a fist

or being run over by car upon car upon car springing to life a fake life stupid cheap thing without a voice made in China made in China slinking awaiting lonely sad thing being pulled and dragged about fun sweet plaything boring inanimate object lifeless so complacent, nascent thing, ding-a-ling passive thing with no purpose at all

no way to fight back or tell

its own truth, its name is ruth

but you bounce back don’t you you hop up the same eyes the same teeth

sticky fingers strangle you stories and stones assault you you conform, you rubber dummy

fake thing in a real world

fake thing in a real world always bouncing back, on track.

54 | THE magazine

M AY

2016

Vanessa Michel, Madruga in Mourning, hand-sewn quilt, 65” x 65”

form ď concept

grand opening ~ friday, may 27, 5-7pm Made in the Desert Contemporary Craft in the Southwest opening friday, may 27, 5-7pm

ď Artist Talks saturday may 28, 2-4pm Cut

Bunny Tobias Works by Bunny Tobias in our retail shop.

ď Paste

sunday, may 29, 2-4pm; $7 We provide the magazines, scissors, and glue, you make the art. Refreshments provided. For all ages!

Virtual Object 3D Printed Media in conjunction with Currents New Media Festival. opening friday, june 10, 5-7pm

ď Artist Talks and 3D printing demo saturday june 11, 1-4pm

435 South Guadalupe Street ~ Santa Fe, NM 87501 505.982.8111 ~ www.formandconcept.center

S A N T I AG O M I C H A L E K May 6 – 21, 2016 in our Downtown location Artist Reception: Friday, May 6th from 5 – 7 pm

9328 Engine, oil on Belgian linen, 48" h x 36" w

D OW N TOW N | 130 Lincoln Avenue, Suite C Santa Fe, NM 87501 | 505.954.9902 | www.blueraingallery.com R A I LYA R D | 544 South Guadalupe Street, Santa Fe, NM 87501